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This essay examines the critical character of Friedrich Schlegel’s Romantic irony, following its considerations and ap- propriations by Walter Benjamin, Harold Bloom and Paul de Man. Likewise, it shows a parallelism of this critical a itude of irony with three Romantic literary gures: the aesthete, the dan- dy and the âneur. These gures, joined by a prophetic faith in art, make of irony a profession which moves between creation and destruction. Appropriation in the poststructuralist context allows us to perceive irony in such a radical incomprehension, developing an aesthetic pa ern that operates between creation and annihilation.

Critical Irony or the Lovers of Ruins: The Aesthete, the Dandy and the Flâneur