The connections between the emergence of modern society and the experience of melancholy are explored through a comprehensive re-examination of Soren Kierkegaard's rich and insightful writings.

Modernism and Melancholia shows how a range of novels from 1913 to 1941 perform melancholia in their diction, images, metaphors, syntax, and experimental narrative techniques.

Simon D. Podmore claims that becoming a self before God is both a divine gift and an anxious obligation. Before we can know God, or ourselves, we must come to a moment of recognition. How this comes to be, as well as the terms of such acknowledgment, are worked out in Podmore's powerful new reading of Kierkegaard. As he gives full consideration to Kierkegaard's writings, Podmore explores themes such as despair, anxiety, melancholy, and spiritual trial, and how they are broken by the triumph of faith, forgiveness, and the love of God. He confronts the abyss between the self and the divine in order to understand how we can come to know ourselves in relation to a God who is apparently so wholly Other.

The surprising claim of this book is that dwelling on loss is not necessarily depressing. Instead, embracing melancholy can be a road back to contact with others and can lead people to productively remap their relationship to the world around them. Flatley demonstrates that a seemingly disparate set of modernist writers and thinkers showed how aesthetic activity can give us the means to comprehend and change our relation to loss.

The Violence of Modernity turns to Charles Baudelaire, one of the most canonical figures of literary modernism, in order to reclaim an aesthetic legacy for ethical inquiry and historical critique. Works of modern literature are commonly theorized as symptomatic responses to the trauma of history. In a climate that tends to privilege crisis over critique, Debarati Sanyal argues that it is urgent to rethink literary experience in terms that recall its contestatory potential. Examining Baudelaire's poems afresh, she shifts the focus of critical attention toward an account of modernism as an active engagement with violence, specifically the violence of history in nineteenth-century France. Sanyal analyzes a literary current that uses the traditional hallmarks of modernism—irony, intertextuality, self-reflexivity, and formalism—to challenge the historical violence of modernity. Baudelaire and the committed ironists writing in his wake teach us how to read and resist the violence of history, and thereby to challenge the melancholy tenor of our contemporary "wound culture." In a series of provocative readings, Sanyal presents Baudelaire's poetry as an aesthetic form that contests historical violence through rhetorical strategies of complicity, counterviolence, and critique. The book develops a new account of Baudelaire's significance as a modernist by dislodging him both from his traditional status as a practitioner of "art for art's sake" and from his more recent incarnation as the poet of trauma. Following her extended analysis of Baudelaire's poetry, Sanyal in later chapters considers a number of authors influenced by his strategies—including Rachilde, Virginie Despentes, Albert Camus, and Jean-Paul Sartre—to examine the relevance of their interventions for our current climate of trauma and terror. The result is a study that underscores how Baudelaire's legacy continues to energize literary engagements with the violence of modernity.

Why does agency -- the capacity to make choices and to act in the world -- matter to us? Why is it meaningful that our intentions have effects in the world, that they reflect our sense of identity, that they embody what we value? What kinds of motivations are available for political agency and judgment in an age that lacks the enthusiasm associated with the great emancipatory movements for civil rights and gender equality? What are the conditions for the possibility of being an effective agent when the meaning of democracy has become less transparent? David Kyuman Kim addresses these crucial questions by uncovering the political, moral, philosophical, and religious dimensions of human agency. Kim treats agency as a form of religious experience that reflects implicit and explicit notions of the good. Of particular concern are the moral, political, and religious motivations that underpin an understanding of agency as meaningful action. Through a critical engagement with the work of theorists such as Judith Butler, Charles Taylor, and Stanley Cavell, Kim argues that late modern and postmodern agency is found most effectively at work in what he calls "projects of regenerating agency" or critical and strategic responses to loss. Agency as melancholic freedom begins and endures, Kim maintains, through the moral and psychic losses associated with a broad range of experiences, including the moral identities shaped by secularized modernity and the multifold forms of alienation experienced by those who suffer the indignities of racial, gender, class, and sexuality discrimination and oppression. Kim calls for renewing the sense of urgency in our political and moral engagements by seeing agency as a vocation, where the aspiration for self-transformation and the human need for hope are fundamental concerns.

"We live in a reflective age." That is Soren Kierkegaard's overall conclusion when evaluating the time he lives in. But his appraisal contains both approval and criticism. On the one hand reflection is a necessary category to deal with the dynamics and the qualities of the modern age, on the other hand it bears a great danger. It is Kierkegaard's firm conviction that reflection should always relate to a kind of immediacy that safeguards it from becoming hollow and detached from our existential reality. Throughout the voluminous and complex work of Kierkegaard, the notions of 'immediacy' and 'reflection' play a crucial role. They appear in such an early work as From the Papers of One Still Living as well as in the late Anti-Climacus writings, and indeed their significance or influence can be felt in all philosophical texts published in between. That is not to say that the meaning of the notions is unequivocal. After all, Kierkegaard not only uses the terms in very divergent contexts, but his own understanding of them appears to evolve quite strongly in the course of his oeuvre. Moreover, in spite of their clearly philosophical character, the two notions play an unmistakable role in Kierkegaard's understanding of religion. They appear frequently in the religious discourses indeed. In short, Kierkegaard's use of the notions of 'immediacy' and 'reflection' covers a broad array of meanings and interpretations. The dialectics of immediacy and reflection, of reflection killing immediacy and raising the question of the possibility of a new immediacy is the main theme of Immediacy and Reflection in Kierkegaard's Thought. The book contains contributions authored by a number of well known Kierkegaard scholars. Kierkegaard's theory of the 'existence spheres of life' provides a first viewpoint on the interplay of immediacy and reflection. Here the philosophical and pseudonymous writings are the main subject of research. If on the other hand one pays a closer look at the significance of a 'second immediacy' for a religious attitude to life, The religious discourses come into play when the possibility of a 'second immediacy' is taken into consideration. In conclusion the theme of immediacy and reflection is connected to some important trends in the modern and contemporary era. On the one hand it is linked to the philosophical influences Kierkegaard underwent (e.g. from Hegel); on the other hand Kierkegaard is confronted with later thinkers (Heidegger in particular).