The International Kierkegaard Commentary-For the first time in English the world community of scholars systematically assembled and presented the results of recent research in the vast literature of Søren Kierkegaard. Based on the definitive English edition of Kierkegaard's works by Princeton University Press, this series of commentaries addresses all the published texts of the influential Danish philosopher and theologian. This is volume 2 in a series of commentaries based upon the definitive translations of Kierkegaard's writings published by Princeton University Press, (...) 1980ff. (shrink)

With the appearance of this book, Kierkegaard's dissertation for the master's degree, all major works of Kierkegaard are available in English. Capel's translation is felicitous, and his "historical introduction" and notes are genuinely helpful. The Concept of Irony is itself an exercise in irony, and most problems of interpretation relate to that point. Although the book is of considerable independent interest, sprinkled with wit and insight, it is likely that it will be used mainly by scholars tracing (...) the origins of Kierkegaard's thought. It should be good for a handful of dissertations, and several hands full of articles.—A. E. J. (shrink)

In this paper I argue that Plato's Apology is the principal text on which Kierkegaard relies in arguing for the idea that Socrates is fundamentally an ironist. After providing an overview of the structure of this argument, I then consider Kierkegaard's more general discussion of irony, unpacking the distinction he draws between irony as a figure of speech and irony as a standpoint. I conclude by examining Kierkegaard's claim that the Apology itself is “splendidly suited for obtaining (...) a clear concept of Socrates' ironic activity,” considering in particular Kierkegaard's discussion of Socrates' remarks about death and his use of Friedrich Ast's commentary to help his readers to discover the irony that he contends runs throughout Socrates' defense speech. (shrink)

Kierkegaard’s appropriation of Socrates in his work is a well trodden area of inquiry for the Kierkegaard scholar. It is often assumed that Kierkegaard’s earlier work The Concept of Irony does not share the same attitude towards Socrates as the later texts; thus the dissertation is regularly overlooked. This paper challenges this orthodoxy through a close reading of The Concept of Irony. While Kierkegaard’s emulative orientation to Socrates is usually associated with the authorship proper, I will (...) endeavour to locate such emulation in Kierkegaard’s dissertation. I will attempt to show that Kierkegaard presents Socrates as totally consumed by irony yet deliberately undermines the method employed to reach this reading of Socrates. This ironic method of investigation, I claim, mimics a characteristic that both the early and the later Kierkegaard associate with Socrates: the effect of Socratic irony that induces a transformation in an interlocutor’s subjective orientation toward a phenomenon. The author of the The Concept emulates Socratic irony in the hope that his readers will alter how they see Socrates rather than what they see; I will argue that this aspect of The Concept’s style is a significant point of similarity between this early work and the later authorship. (shrink)

While many studies of 'On the Concept of Irony' treat Kierkegaard's "irony" primarily from a literary perspective, "The Isolated Self" also examines irony with an eye to the fundamental problem in Kierkegaard's authorship, namely, the challenge of becoming a "self". Kierkegaard's "irony" is a cavalier way of life that seeks isolation from the other -- an isolation he considers necessary to becoming a self. At the same time, irony is said to be a hindrance (...) to selfhood because the self fails to become a part of the social world in which it resides. The book puts the existential tension of 'On the Concept of Irony' into relief and suggests how it sets the stage for the rest of Kierkegaard's authorship. The book reconstructs the horizon of understanding during Kierkegaard's time, including Hegel's interpretation of both Socratic irony and Friedrich Schlegel's romantic irony. In addition, the work explores material from the little-known Danish discussion of irony in the works of Poul Martin Møller, Johan ,Ludwig Helberg and Hans Lassen Martensen. (shrink)

A work that "not only treats of irony but is irony," wrote a contemporary reviewer of The Concept of Irony, with Continual Reference to Socrates. Presented here with Kierkegaard's notes of the celebrated Berlin lectures on "positive philosophy" by F.W.J. Schelling, the book is a seedbed of Kierkegaard's subsequent work, both stylistically and thematically. Part One concentrates on Socrates, the master ironist, as interpreted by Xenophon, Plato, and Aristophanes, with a word on Hegel and Hegelian categories. (...) Part Two is a more synoptic discussion of the concept of irony in Kierkegaard's categories, with examples from other philosophers and with particular attention given to A. W. Schlegel's novel Lucinde as an epitome of romantic irony.The Concept of Irony and the Notes of Schelling's Berlin Lectures belong to the momentous year 1841, which included not only the completion of Kierkegaard's university work and his sojourn in Berlin, but also the end of his engagement to Regine Olsen and the initial writing of Either/Or. (shrink)

In addition, the work explores material from the little-known Danish discussion of irony in the works of Poul Martin Møller, Johan Ludvig Heiberg and Hans Lassen Martensen.

In a recent article in The European Legacy, Mark Cortes Favis argued that the figure of Kierkegaard expressed a tension between two aspects of writing—the Socratic and the Platonic. While Favis is correct to see a duality in Kierkegaard's writing, his article does not fully answer the problem of how we can account for our interpretation of this tension. Given that the duality within Kierkegaard's writing transgresses the boundaries of author and reader, we cannot easily circumscribe any claims on his (...) writing without considering its effect on our reading. Rather, the characteristic duality of his authority manifests itself in a number of ways in the task of identifying the philosophical meaning of his texts. Kierkegaard's relationship to Socrates is thus symptomatic of a number of figural dualities that pervade interpretations of his work. By surveying the ways in which these interpretations draw on the axiom of duality in order to ascribe an authority to Kierkegaard's texts, I suggest Favis's argument that Kierkegaard's writing expresses both Socratic and Platonic aspects should be placed within the wider duality at work in the interpretation of Kierkegaard's work. (shrink)

This paper explores Socratic irony as reflected in the famous passages of Alcibiades’ speech in Plato’s Symposium, focusing on the relationship between ironic utterance and the philosophic guidance process. Reviewing the diverse meanings of the term eirôneia in Greek comedy and philosophy, it examines the way in which Plato employs irony in fashioning Socrates’ figure and depicting the ideal of philosophic guidance as the “art of midwifery.” It then analyzes Kierkegaard’s most positive perception of Socratic irony as (...) a necessary methodical element in the Socratic maieutic process of “deceiving into the truth.” Contrasting Kierkegaard with Alcibiades’ scathing critique, it reads the latter in a combined dramatic-philosophical perspective, as presenting irony as an anti-philosophic phenomenon, leading to cognitive puzzlement and Dionysian irrationality. Alcibiades’ negative stance will be manifested via analyzing his use of four literary rhetorical devices: comparing Socrates with the Silenoi, drawing an analogy between ironic speech and Marysas’ satyric flute playing, symbolizing philosophy as snake venom, and presenting the scene of Socrates’ seduction as dramatic irony. The discussion shows, then, that there are two distinct manifestations of Socratic irony drawn from Plato’s writings, destructive and constructive, derived from the character of his philosophical pupils. (shrink)

Name der Zeitschrift: Kierkegaard Studies Yearbook Jahrgang: 23 Heft: 1 Seiten: 359-395.

This study asks how Sartre’s version of the dialectic of recognition is present in Kierkegaard’s works. For Sartre, the dialectic begins with an awareness that the other sees me and judges me. I experience this as a threat to my autonomy, and I fight back with a variety of strategies designed to mitigate the effects. Inter-subjective relationships are grounded in conflict from which there is no exit. Similarly, Kierkegaard characterizes the natural, self-centered way of seeing the other as inherently self-centered (...) and contentious. And yet some of Kierkegaard’s texts lay the ground for a way out. Unlike Sartre, he is sensitive to modifications to the structure of the dialectic of recognition that depend on a change in the basic mode of looking. That is, how I see, evaluate, and judge the other can alter the foundation of the interaction from something mutually contentious to something mutually edifying. (shrink)

This essay reconsiders the role of irony in the Hegelian project of developing a theory of modern ethical life. It recognizes in Socratic irony the traces of an alternative concept of morality that leads both to an acknowledgement of Hegel’s convincing critique of the Kantian moral principle and to a rejection of Hegel’s misconception of Socratic and Romantic irony. Arguing against Hegel that irony cannot be reduced to a form of alienation from the normative dimension (...) of ethical life as a whole, but should instead be understood as a necessary component of a dynamic mediation between subjective freedom and ethical universality, the author further claims that irony, thus conceived, takes on the productive function that it should actually have had within the Hegelian system. That is, ironyis a phenomenon that, from the standpoint of morality, refers us to a form of ethical life in which subjective freedom and difference are respected. (shrink)

This essay reconsiders the role of irony in the Hegelian project of developing a theory of modern ethical life. It recognizes in Socratic irony the traces of an alternative concept of morality that leads both to an acknowledgement of Hegel’s convincing critique of the Kantian moral principle and to a rejection of Hegel’s misconception of Socratic and Romantic irony. Arguing against Hegel that irony cannot be reduced to a form of alienation from the normative dimension (...) of ethical life as a whole, but should instead be understood as a necessary component of a dynamic mediation between subjective freedom and ethical universality, the author further claims that irony, thus conceived, takes on the productive function that it should actually have had within the Hegelian system. That is, ironyis a phenomenon that, from the standpoint of morality, refers us to a form of ethical life in which subjective freedom and difference are respected. (shrink)

In The Concept of Irony, Kierkegaard aims to show the inadequacy of an ironic standpoint not through a generalized dialectical account of its failure onits own terms but through an empirical examination of the actual life of Socrates. Crucial to his methodology, I argue, is his use of the term “suspend” (svæve).Socratic irony is not overcome, superseded, or annulled, but rather “suspended” in its incomplete connection to its community. In both his depiction of Socratesas hanging in a (...) basket and his deification of insubstantial clouds, Aristophanes provides a model for Kierkegaard’s conception of suspension. By bringing Socrates into direct engagement with the Clouds, Aristophanes shows Kierkegaard not just the tendency of Socratic irony to suspend itself, but a way of approaching irony that does not reduce it to a moment of a greater totality. (shrink)