One of the elements that many readers admire in Kierkegaard’s skill as a writer is his ability to create different voices and perspectives in his works. Instead of unilaterally presenting clear-cut doctrines and theses, he confronts the reader with a range of personalities and figures who all espouse different views. One important aspect of this play of perspectives is Kierkegaard’s controversial use of pseudonyms. The present volume is dedicated to exploring the different pseudonyms and authorial voices in Kierkegaard’s writing. The (...) articles featured here try to explore each pseudonymous author as a literary figure and to explain what kind of a person is at issue in each of the pseudonymous works. The hope is that by taking seriously each of these figures as individuals, we will be able to gain new insights into the texts which they are ostensibly responsible for. (shrink)

This paper argues that community gardens, in addition to being economically practical, offer a promising example of an environment that fosters the new sensibility. After exploring Marcuse’s new sensibility and his critique of aesthetic experience under capitalism, the paper turns to some empirical studies of the benefits of the aesthetic qualities of community gardening. These studies correspond to Marcuse’s proposition that aesthetic environments can play a role in challenging domination. The last section of this paper considers how those involved in (...) the D-Town Farm in Detroit self-consciously assert the community garden as a political project that challenges domination. (shrink)

Hesiod: Kierkegaard and the Greek Gods -- Homer: Kierkegaard's Use of the Homeric Poems -- Plutarch: A Constant Cultural Reference -- Sophocles: The Tragic of Kierkegaard's Modern Antigone -- Index of Persons -- Index of Subjects.

While Kierkegaard is perhaps known best as a religious thinker and philosopher, there is an unmistakable literary element in his writings. He often explains complex concepts and ideas by using literary figures and motifs that he could assume his readers would have some familiarity with. This dimension of his thought has served to make his writings far more popular than those of other philosophers and theologians, but at the same time it has made their interpretation more complex. Kierkegaard readers are (...) generally aware of his interest in figures such as Faust or the Wandering Jew, but they rarely have a full appreciation of the vast extent of his use of characters from different literary periods and traditions. The present volume is dedicated to the treatment of the variety of literary figures and motifs used by Kierkegaard. The volume is arranged alphabetically by name, with Tome I covering figures and motifs from Agamemnon to Guadalquivir. (shrink)

While Kierkegaard is perhaps known best as a religious thinker and philosopher, there is an unmistakable literary element in his writings. He often explains complex concepts and ideas by using literary figures and motifs that he could assume his readers would have some familiarity with. This dimension of his thought has served to make his writings far more popular than those of other philosophers and theologians, but at the same time it has made their interpretation more complex. The present volume (...) is dedicated to the treatment of the variety of literary figures and motifs he used. (shrink)

The articles in this volume employ source-work research to trace Kierkegaard's understanding and use of authors from the Greek tradition.