In an important passage in *Philosophies of Art*, Peter Kivy rejects what he calls the ‘no-paraphrase’ thesis. According to this thesis, the content of some literary works of art can only be stated in the precise words of these works themselves. Any attempt to restate their content in any other words will fail. This paper provides a challenge to Kivy’s position. It does so by developing some comments on the issue made by Kierkegaard. In particular, it defends Kierkegaard’s claim that (...) some of the views expressed in *Concluding Unscientific Postscript* cannot be paraphrased on pain of contradiction. (shrink)

This paper provides an account of Kierkegaard’s central criticism of the Danish Hegelians. Contrary to recent scholarship, it is argued that this criticism has a substantive theoretical basis and is not merely personal or ad hominem in nature. In particular, Kierkegaard is seen as criticizing the Hegelians for endorsing an unacceptable form of intellectual elitism, one that gives them pride of place in the realm of religion by dint of their philosophical knowledge. A problem arises, however, because this criticism threatens (...) to apply to Kierkegaard himself. It is shown that Kierkegaard manages to escape this problem by virtue of the humorous aspect of his work. (shrink)

Various historians, philosophers, and social scientists have attempted to provide convincing explanations of the roots of violence, with mixed and confusing results. This book brings Kierkegaard's voice into this conversation in a powerful way, arguing that the Christian intellectual tradition offers the key philosophical tools needed for comprehending human pathology.

This paper explores the relationship between Kierkegaard's theory of “indirect communication,” his employment of that method in the pseudonymous literature, and his explicit comments on the Teacher in Philosophical Fragments. My interest is principally in a pedagogical method able to serve as a solution to the problem of will formation, and so my assessment of Kierkegaard's theory and performance is essentially ethical in nature. I argue that there is at least an ambiguity, if not a contradiction, to be found in (...) the above relationship and that as a result, in its current form, Kierkegaardean pedagogical devices do not appear to be able to offer an adequate solution. (shrink)

Søren Kierkegaard (1813-55) was an almost unbelievably prolific writer. At his death he left not only a massive body of published work (25 volumes in the recently completed Princeton University Press edition), but also a sprawling mass of unpublished writings that rivaled the size of the published corpus. This book tells the story of the peculiar fate of this portion of Kierkegaard's literary remains, which flowed ceaselessly from his steel pen from his late teens to a week before his death. (...) It is the story of packets and sacks of paper covered with words and images that, after a vagabond existence in various homes, finally landed at the Royal Danish Library, where they are today guarded with great care. Readers are also introduced to a selection of this enormous body of material, including drawings and doodlings (often human profiles with high foreheads) that escaped from Kierkegaard's pen in unguarded moments and complement the allure of the philosopher's strikingly variable, elusive handwriting. The authors of this book are among the editors of a modern critical edition of Kierkegaard's oeuvre currently being produced in Copenhagen. By the end of his life Kierkegaard had become a controversial figure, engaged in a furious assault upon "Christendom." From the very moment of their discovery in the days following his death, the unpublished words and images constituted a highly problematic bonanza, an intellectual and religious hot potato (or sack of potatoes) that was passed from hand to hand, suppressed, selectively and tendentiously published and republished. Written Images offers readers a fascinating tour of the misadventures of these written images that will, finally, soon be published in their entirety. (shrink)

To date, there have been few attempts to compare the thought of Confucius and Kierkegaard, and these few attempts have focused on the contrast between Kierkegaard’s stress on the individual and Confucius’s emphasis on the social aspect of human existence. In this article, I point instead to substantial agreement between the analyses of ethical existence offered by Confucius and two of Kierkegaard’s pseudonymous figures, Judge William of Either/Or and Johannes Climacus of The Concluding Unscientific Postscript . I seek to use (...) this parallelism to better discern the specific character of Confucius’s religious consciousness. (shrink)

At first glance, a systematic examination of Either/Or apparently yields a clear analysis of its structure. The project is straightforward. There are two words in the title. There are two volumes, each with its principal speaker. In the course of the work a speaker for the ethical perspective follows an aesthetic speaker and comments critically on him and his ideas. As a judge, he clearly has the requisite temporal authority and moral ascendancy to do so. Moreover the judge appeals to (...) eternal authority, embodied in a sermon, as additional support for his position. (shrink)

C. Stephen Evans explains and defends Kierkegaard's account of moral obligations as rooted in God's commands, the fundamental command being `You shall love your neighbour as yourself'. The work will be of interest not only to those interested in Kierkegaard, but also to those interested in the relation between ethics and religion, especially questions about whether morality can or must have a religious foundation. As well as providing a comprehensive reading of Kierkegaard as an ethical thinker, Evans puts him into (...) conversation with contemporary moral theorists. Kierkegaard's divine command theory is shown to be an account that safeguards human flourishing, as well as protecting the proper relations between religion and state in a pluralistic society. (shrink)

Melancholy and The Critique of Modernity examines the connections between the emergence of modern society and the experience of melancholy. The idea of "sadness without a cause" has played an important part in human self-understanding throughout the development of Western society. But with the emergence of modernity melancholy has become its most pervasive and significant experience. The affinity between melancholy and modernity is examined through a comprehensive re-examination of the writings of Soren Kierkegaard. The whole range of Kierkegaard's work is (...) set in the context of a social and historical theory of melancholy. From this perspective Kierkegaard emerges as the most important, and the most typical, psychologist of the modern era. Melancholy and The Critique of Modernity makes Kierkegaard's rich and insightful writings accessible to a new audience and establishes him as a central figure for contemporary debates on the nature of modernity. (shrink)

In the development of modern philosophy self-consciousness was not generally or unanimously given important consideration. This was because philosophers such as Descartes, Kant and Fichte thought it served as the highest principle from which we can 'deduce' all propositions that rightly claimed validity. However, the Romantics thought that the consideration of self-consciousness was of the highest importance even when any claim to foundationalism was abandoned. In this respect, Hölderlin and his circle, as well as Novalis and Schleiermacher, thought that self-consciousness, (...) itself, was not a principle but must be ranked on a minor or dependent level, and presupposed the Absolute as a superior but inaccessible condition or ground. This reservation did not hinder them from recognising that the foundationalist Fichte was the first to have shown conclusively that from Descartes, via German Rationalism and British Empiricism, up to Kant, self-consciousness was misconceived of as the result of an act of reflection by which a second-order act bent back upon a first-order act that is identical to itself. This conception entailed circular entanglements and infinite regresses, and was too high a price to pay. Whereas Fichte thought pre-reflexive self-awareness was a philosophical principle, the Romantics and their vehement critic Kierkegaard, abandoned the idea of self-consciousness as a foundational starting point of philosophy. Instead, they founded self-consciousness on transcendent Being, a prior non-conceptual consciousness ('feeling') and reproached Fichte for having fallen back into the repudiated reflection model of self-consciousness. (shrink)

Against influential views to the contrary, notably formulated in Henry Allison's 'Christianity and Nonsense', it is argued that Kierkegaard's Concluding Unscientific Postscript is not in itself, as a whole or in any part, an elaborate joke. The work contains a serious though negative argument designed to locate the place of faith in relation to reason. Given that the text itself makes claims on our reason in this way but that its pseudonymous author is a self-styled humorist, the question of where (...) the work's humour lies needs to be freshly confronted. After humour has been distinguished from comedy (as a point of view from which unconscious comedy in the enactment of life-views becomes visible), and both from absurdity, it is concluded that a fundamental aim of Postscript, once the negative argument has been given, is to cast light self-referentially on the comedy of humour itself. Finally, in asking what bearing Postscript's humour can have on whatever philosophy means to us today, two main respects (and areas) are indicated in which current philosophical investigation may be seen to be potentially comic from a (broadened and non-parochial) Postscriptian perspective. (shrink)