This study represents a comparison between two radical gestures of literary self-reflexivity:
romantic irony and postmodernist metafiction. It examines the impact of early German romantic
theory and its central concept of irony on German and English romantic narrative fiction and
relates the same to postmodernist self-reflexive novels including its British and American
variants. A primary objective of this comparison is to account for the radical skepticism that
postmodernist metafiction voices with respect to the paramount philosophical question of truth
and reality. The immanent tension between an absolute idealistic and a radically skeptic
position which romantic irony articulates and enacts is conceived of as an important and
instructive link to the understanding of postmodernism.
