Aesthetics I, 1st Edition by Ramona Cormier, Shannon Dubose, James K. Feibleman, John D.

By Ramona Cormier, Shannon Dubose, James K. Feibleman, John D. Glenn Jr., Harold N. Lee, Marian L. Pauson, Louise N. Roberts, John Sallis (auth.)

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His irony is like romantic irony, the irony of the aestheticist, in that it involves the negation (or at least the relativization) of immediacy and finitude. But it is unlike romantic irony in that the ethicist has 1 See especially Postscript, pp. 449-450, where Johannes Climacus says that, in discussiug Socrates, we must not "like Magister Kierkegaard consciously or unconsciously" present "only one side of him" - an apparent hint as to the ironic character of The Concept of Irony. KIERKEGAARD ON THE UNITY OF COMEDY AND TRAGEDY 51 found a new foothold (Kierkegaard sometimes refers to a "new immediacy") in a positive relation to the ethical ideal.

Due to the mental effects of monotony, beginning with the loss of consciousness and ending with some kind of cultural death, it is important to look to the artist to breathe fresh life into the material environment of society. The faculty of imagination which the artist possesses makes of him a creature in some sense set apart from society although serving as an essential part of it. But the career of the artist is almost never satisfactory. Where he wants the most to belong he is the most excluded, for his divergence from the ways of others is taken seriously by them.

L He goes on to deplore the absence of a word "designating the two processes taken together," but conceives his theory to show that the two are related in such a manner as to sustain each other. The relation that Dewey finds does not satisfy me, however, for his theory seems to waver between "a solvent union" that absorbs all differences 2 and a relation that is quite externa1. 3 * A shorter version of this paper was read at the meeting of the Southwestern Philosophical Society at Austin, Texas, November 23, 1969, and is published in the Proceedings of that meeting.

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