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En dialogo con el Romanticismo aleman, Kierkegaard construye en O lo uno O lo otro el perfil de quien vive esteticamente como culminacion de los ideales esteticos romanticos. En el Romanticismo, la ironia se convierte en el elemento esencial a tal forma de vida, ya que permite alejamiento de la realidad en tanto superioridad de un yo que se concibe absoluto, mediante un distanciamiento critico que le permite contemplarse a si mismo como obra de arte. Sin embargo, desde la reelaboracion de Kierkegaard, puede mostrarse que la ironia es el instrumento para aparecer en el mundo como yo absoluto y dominador, pero el fundamento de la existencia estetica permanece anclado en la melancolia. La tesis del escrito consiste en mostrar precisamente que el elemento oculto en la existencia estetica es la melancolia en la medida que determina una vision quebrada del mundo y por ello una disputa entre hombre y realidad. In discussion with German Romanticism, Kierkegaard built in Either/Or the profile who lives aesthetically as the culmination of the romantic aesthetic ideals. In Romanticism, the irony becomes so essential to life, allowing detachment from reality as superiority of me who is conceived absolutely, by means of a critical distance that it allows him to be contemplate himself as a work of art. However, in the Kierkegaard’s reprocessing, it can be shown that irony is the instrument to appear in the world as absolute and dominant, but the foundation of aesthetic existence remains anchored in the melancholy. The thesis of this paper is to show precisely that hidden element in the aesthetic existence is the melancholy in the measure that determines a broken vision of the world and therefore a dispute between man and reality.

Søren Kierkegaard. La melancolía como fundamento de la existencia estética. Søren Kierkegaard. The Melancholy as the Foundation of Aesthetic Existence