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This volume explores in detail Kierkegaard's various relations to his German contemporaries. Kierkegaard read German fluently and made extensive use of the writings of German-speaking authors. It can certainly be argued that, apart from his contemporary Danish sources, the German sources were probably the most important in the development of his thought generally. The volume has been divided into three tomes reflecting Kierkegaard's main areas of interest with regard to the German-speaking sources, namely, philosophy, theology and a more loosely conceived category, which has here been designated "literature and aesthetics." This third tome is dedicated to the German literary sources that were significant for Kierkegaard; in particular the work of authors from German Classicism and Romanticism. Important forerunners for many of Kierkegaard's literary motifs and characters can be found in the German literature of the day. His use of pseudonyms and his interest in irony were both profoundly influenced by German Romanticism. This volume demonstrates the extent to which Kierkegaard's views of criticism and aesthetics were decisively shaped by the work of German authors.

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 Isolated Self thus 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 Isolated Self 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 Ludvig Heiberg and Hans Lassen Martensen.

Irony and Idealism investigates the historical and conceptual structure of the development of a philosophically distinctive conception of irony in early- to mid-nineteenth century European philosophy. The principal figures treated are the romantic thinkers Friedrich Schlegel and Novalis, Hegel, and Kierkegaard. Fred Rush argues that the development of philosophical irony in this historical period is best understood as providing a way forward in philosophy in the wake of Kant and Jacobi that is discrete from, and many times opposed to, German idealism. Irony and Idealism argues, against the grain of received opinion, that among the German romantics Schlegel's conception of irony is superior to similar ideas found in Novalis. It also presents a sustained argument showing that historical reconsideration of Schlegel has been hampered by contestable Hegelian assumptions concerning the conceptual viability of romantic irony and by the misinterpretation of what the romantics mean by 'the absolute.' Rush argues that this is primarily a social-ontological term and not, as is often supposed, a metaphysical concept. Kierkegaard, although critical of the romantic conception, deploys his own adaptation of it in his criticism of Hegel, continuing, and in a way completing, the arc of irony through nineteenth-century philosophy. The book concludes by offering suggestions meant to guide contemporary reconsideration of Schlegel's and Kierkegaard's views on the philosophical significance of irony.

Søren Kierkegaard: Subjectivity, Irony, and the Crisis of Modernity examines the thought of Søren Kierkegaard, a unique figure, who has freeired, provoked, fascinated, and irritated people ever since he walked the streets of Copenhagen. At the end of his life, Kierkegaard said that the only model he had for his work was the Greek philosopher Socrates. This work takes this statement as its point of departure. Jon Stewart explores what Kierkegaard meant by this and to show how different aspects of his writing and argumentative strategy can be traced back to Socrates. The main focus is The Concept of Irony, which is a key text at the beginning of Kierkegaard's literary career. Although it was an early work, it nevertheless played a determining role in his later development and writings. Indeed, it can be said that it laid the groundwork for much of what would appear in his later famous books such as Either/Or and Fear and Trembling.

"Just as philosophy begins with doubt, so also a life that may be called human begins with irony" so wrote Kierkegaard. While we commonly think of irony as a figure of speech where someone says one thing and means the opposite, the concept of irony has long played a more fundamental role in the tradition of philosophy, a role that goes back to Socrates Ð the originator and exemplar of the urbane ironic life. But what precisely is Socratic irony and what relevance, if any, does it have for us today? Bernstein begins his inquiry with a critical examination of the work of two contemporary philosophers for whom irony is vital: Jonathan Lear and Richard Rorty. Despite their sharp differences, Bernstein argues that they complement one other, each exploring different aspects of ironic life. In the background of Lear’s and Rorty’s accounts stand the two great ironists: Socrates and Kierkegaard. Focusing on the competing interpretations of Socratic irony by Gregory Vlastos and Alexander Nehamas, Bernstein shows how they further develop our understanding of irony as a form of life and as an art of living. Bernstein also develops a distinctive interpretation of Kierkegaard’s famous claim that a life that may be called human begins with irony. Bernstein weaves together the insights of these thinkers to show how each contributes to a richer understanding of ironic life. He also argues that the emphasis on irony helps to restore the balance between two different philosophical traditions philosophy as a theoretical discipline concerned with getting things right and philosophy as a practical discipline that shapes how we ought to live our lives.