Pub Date : 2020-08-18DOI: 10.1515/kierke-2020-0005
Nicola Ramazzotto
Abstract This paper attempts to investigate Kierkegaard’s thought through the category of mimesis. First, two meanings of the word are distinguished and analyzed: the archaic meaning that links it to the concept of re-enactment, and the traditional meaning that links it to the aesthetic field of art. These two meanings are then considered in relation to Kierkegaard’s opus, showing the oscillation of mimesis as corresponding to that between the aesthetic, which lives in fantasy and in the unfulfilled possibility, and the religious, which finds its identity in the imitation of Christ and in the transparent relationship to God.
{"title":"The Ambiguity of Mimesis: Kierkegaard between Aesthetic Fantasy and Religious Imitation","authors":"Nicola Ramazzotto","doi":"10.1515/kierke-2020-0005","DOIUrl":"https://doi.org/10.1515/kierke-2020-0005","url":null,"abstract":"Abstract This paper attempts to investigate Kierkegaard’s thought through the category of mimesis. First, two meanings of the word are distinguished and analyzed: the archaic meaning that links it to the concept of re-enactment, and the traditional meaning that links it to the aesthetic field of art. These two meanings are then considered in relation to Kierkegaard’s opus, showing the oscillation of mimesis as corresponding to that between the aesthetic, which lives in fantasy and in the unfulfilled possibility, and the religious, which finds its identity in the imitation of Christ and in the transparent relationship to God.","PeriodicalId":53174,"journal":{"name":"Kierkegaard Studies Yearbook","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-08-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87343647","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-08-18DOI: 10.1515/kierke-2020-0011
Mélissa Fox-Muraton
Abstract Simone de Beauvoir’s moral philosophy has received relatively little attention in the scholarly world. This article seeks to bring her Ethics of Ambiguity into dialogue with Søren Kierkegaard’s Works of Love, two works written a century apart, but which both strive to offer a response to challenges concerning the dangers of existential philosophy’s focus on subjectivity. Despite some fundamental differences in orientation, especially with regard to questions of action and social change, Beauvoir and Kierkegaard’s works offer complementary models for understanding how existential ethics can move beyond subjectivist stances and allow for attentiveness to the plurality of concrete, singular others.
{"title":"Kierkegaard and Beauvoir: Existential Ethics as a Humanism","authors":"Mélissa Fox-Muraton","doi":"10.1515/kierke-2020-0011","DOIUrl":"https://doi.org/10.1515/kierke-2020-0011","url":null,"abstract":"Abstract Simone de Beauvoir’s moral philosophy has received relatively little attention in the scholarly world. This article seeks to bring her Ethics of Ambiguity into dialogue with Søren Kierkegaard’s Works of Love, two works written a century apart, but which both strive to offer a response to challenges concerning the dangers of existential philosophy’s focus on subjectivity. Despite some fundamental differences in orientation, especially with regard to questions of action and social change, Beauvoir and Kierkegaard’s works offer complementary models for understanding how existential ethics can move beyond subjectivist stances and allow for attentiveness to the plurality of concrete, singular others.","PeriodicalId":53174,"journal":{"name":"Kierkegaard Studies Yearbook","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-08-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73830312","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-08-18DOI: 10.1515/kierke-2020-0010
I. Damgaard
Abstract This article critically examines and discusses the charge, raised by Adorno in his essay on Works of Love, that Kierkegaard’s rewriting of the Gospel story of the good Samaritan reduces neighbor love to abstract inwardness. It has been somewhat ignored in the reception of Adorno’s text that he also praises Kierkegaard as a critic of his time. I explore Adorno’s appreciation of this dimension in Works of Love and seek to develop it further by examining Kierkegaard’s sharp eye for discovering how the inhumanity of the slavery in the past persists in more hidden and subtle ways in the modern world dominated by the instrumental rationality of economics.
{"title":"Does Kierkegaard’s Rewritten Parable of the Good Samaritan Leave the World to the Devil? Kierkegaard and Adorno on What it Means to Love one’s Neighbor in the Modern World","authors":"I. Damgaard","doi":"10.1515/kierke-2020-0010","DOIUrl":"https://doi.org/10.1515/kierke-2020-0010","url":null,"abstract":"Abstract This article critically examines and discusses the charge, raised by Adorno in his essay on Works of Love, that Kierkegaard’s rewriting of the Gospel story of the good Samaritan reduces neighbor love to abstract inwardness. It has been somewhat ignored in the reception of Adorno’s text that he also praises Kierkegaard as a critic of his time. I explore Adorno’s appreciation of this dimension in Works of Love and seek to develop it further by examining Kierkegaard’s sharp eye for discovering how the inhumanity of the slavery in the past persists in more hidden and subtle ways in the modern world dominated by the instrumental rationality of economics.","PeriodicalId":53174,"journal":{"name":"Kierkegaard Studies Yearbook","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-08-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76214265","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-08-18DOI: 10.1515/kierke-2020-0012
M. Kruger
Abstract This paper explores the connection between Søren Kierkegaard’s concept of despair and W.E.B. Du Bois’ concept of double consciousness. The concepts have been separately argued to share a root in Hegel’s “Unhappy Consciousness,” and further, each notion in part explains the interaction of a person with their culture. The paper seeks to highlight the importance of culture in interpreting Kierkegaard’s despair, and to do so by including a critique via Du Bois that a person’s existence in a culture of oppression potentially impacts one’s relation to oneself, whether that person is the oppressor or the oppressed.
{"title":"Double Consciousness and Despair: Exploring a Connection Between Søren Kierkegaard and W.E.B. Du Bois","authors":"M. Kruger","doi":"10.1515/kierke-2020-0012","DOIUrl":"https://doi.org/10.1515/kierke-2020-0012","url":null,"abstract":"Abstract This paper explores the connection between Søren Kierkegaard’s concept of despair and W.E.B. Du Bois’ concept of double consciousness. The concepts have been separately argued to share a root in Hegel’s “Unhappy Consciousness,” and further, each notion in part explains the interaction of a person with their culture. The paper seeks to highlight the importance of culture in interpreting Kierkegaard’s despair, and to do so by including a critique via Du Bois that a person’s existence in a culture of oppression potentially impacts one’s relation to oneself, whether that person is the oppressor or the oppressed.","PeriodicalId":53174,"journal":{"name":"Kierkegaard Studies Yearbook","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-08-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88733926","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-08-18DOI: 10.1515/kierke-2020-0015
Jon Stewart
Abstract This article provides an English translation of Johan Ludvig Heiberg’s “Literary Winter Crops” from 1843. The young Kierkegaard cultivated a positive relationship with Heiberg, who was the most powerful cultural figure in Denmark at the time. Heiberg published Kierkegaard’s first articles in his literary journal Kjøbenhavns flyvende Post, and in Kierkegaard’s early works such as From the Papers of One Still Living and The Concept of Irony, there are clear signs that he continued to court Heiberg’s favor. Heiberg’s dismissive book review of Either/Or in “Literary Winter Crops” definitively ended the relationship. Deeply offended, Kierkegaard from this point on waged a polemical war with Heiberg. Heiberg’s short review played a large and negative role not just in their personal relationship but also in Kierkegaard’s development generally. This work appears here for the first time in a complete English translation.
{"title":"Johan Ludvig Heiberg’s “Literary Winter Crops” and Kierkegaard’s Polemic","authors":"Jon Stewart","doi":"10.1515/kierke-2020-0015","DOIUrl":"https://doi.org/10.1515/kierke-2020-0015","url":null,"abstract":"Abstract This article provides an English translation of Johan Ludvig Heiberg’s “Literary Winter Crops” from 1843. The young Kierkegaard cultivated a positive relationship with Heiberg, who was the most powerful cultural figure in Denmark at the time. Heiberg published Kierkegaard’s first articles in his literary journal Kjøbenhavns flyvende Post, and in Kierkegaard’s early works such as From the Papers of One Still Living and The Concept of Irony, there are clear signs that he continued to court Heiberg’s favor. Heiberg’s dismissive book review of Either/Or in “Literary Winter Crops” definitively ended the relationship. Deeply offended, Kierkegaard from this point on waged a polemical war with Heiberg. Heiberg’s short review played a large and negative role not just in their personal relationship but also in Kierkegaard’s development generally. This work appears here for the first time in a complete English translation.","PeriodicalId":53174,"journal":{"name":"Kierkegaard Studies Yearbook","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-08-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90711111","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-08-18DOI: 10.1515/kierke-2020-0001
N. Petersen
Abstract While the only extensive discussion of music in Kierkegaard’s work is the famous treatise based on Mozart’s opera Don Giovanni in the first part of the pseudonymous Either/Or (1843), Kierkegaard did write other brief passages, in which he made comments on musical aspects. Two recent articles have pointed to attitudes toward music in such passages which seem to differ from the negative evaluation of music as a religious or theological medium in the first part of Either/Or by the fictitious aesthete A. With a point of departure in the two mentioned articles, I attempt to further discuss the possible relationship between the ethical and the aesthetic in Kierkegaard’s musical thought, involving passages from both parts of Either/Or as well as a few journal-entries. Finally, Erika Fischer-Lichte’s distinction between staging and performativity is brought to bear on these issues.
{"title":"A Christian Art? Søren Kierkegaard’s Views on Music and Musical Performance Reconsidered","authors":"N. Petersen","doi":"10.1515/kierke-2020-0001","DOIUrl":"https://doi.org/10.1515/kierke-2020-0001","url":null,"abstract":"Abstract While the only extensive discussion of music in Kierkegaard’s work is the famous treatise based on Mozart’s opera Don Giovanni in the first part of the pseudonymous Either/Or (1843), Kierkegaard did write other brief passages, in which he made comments on musical aspects. Two recent articles have pointed to attitudes toward music in such passages which seem to differ from the negative evaluation of music as a religious or theological medium in the first part of Either/Or by the fictitious aesthete A. With a point of departure in the two mentioned articles, I attempt to further discuss the possible relationship between the ethical and the aesthetic in Kierkegaard’s musical thought, involving passages from both parts of Either/Or as well as a few journal-entries. Finally, Erika Fischer-Lichte’s distinction between staging and performativity is brought to bear on these issues.","PeriodicalId":53174,"journal":{"name":"Kierkegaard Studies Yearbook","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-08-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86148333","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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