Kierkegaard's Writings


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Kierkegaard's Writings, II, Volume 2


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A work that "not only treats of irony but is irony," wrote a contemporary reviewer of The Concept of Irony, with Continual Reference to Socrates. Presented here with Kierkegaard's notes of the celebrated Berlin lectures on "positive philosophy" by F.W.J. Schelling, the book is a seedbed of Kierkegaard's subsequent work, both stylistically and thematically. Part One concentrates on Socrates, the master ironist, as interpreted by Xenophon, Plato, and Aristophanes, with a word on Hegel and Hegelian categories. Part Two is a more synoptic discussion of the concept of irony in Kierkegaard's categories, with examples from other philosophers and with particular attention given to A. W. Schlegel's novel Lucinde as an epitome of romantic irony. The Concept of Irony and the Notes of Schelling's Berlin Lectures belong to the momentous year 1841, which included not only the completion of Kierkegaard's university work and his sojourn in Berlin, but also the end of his engagement to Regine Olsen and the initial writing of Either/Or.




Kierkegaard's Writings, VII, Volume 7


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This volume contains a new translation, with a historical introduction by the translators, of two works written under the pseudonym Johannes Climacus. Through Climacus, Kierkegaard contrasts the paradoxes of Christianity with Greek and modern philosophical thinking. In Philosophical Fragments he begins with Greek Platonic philosophy, exploring the implications of venturing beyond the Socratic understanding of truth acquired through recollection to the Christian experience of acquiring truth through grace. Published in 1844 and not originally planned to appear under the pseudonym Climacus, the book varies in tone and substance from the other works so attributed, but it is dialectically related to them, as well as to the other pseudonymous writings. The central issue of Johannes Climacus is doubt. Probably written between November 1842 and April 1843 but unfinished and published only posthumously, this book was described by Kierkegaard as an attack on modern speculative philosophy by "means of the melancholy irony, which did not consist in any single utterance on the part of Johannes Climacus but in his whole life. . . . Johannes does what we are told to do--he actually doubts everything--he suffers through all the pain of doing that, becomes cunning, almost acquires a bad conscience. When he has gone as far in that direction as he can go and wants to come back, he cannot do so. . . . Now he despairs, his life is wasted, his youth is spent in these deliberations. Life does not acquire any meaning for him, and all this is the fault of philosophy." A note by Kierkegaard suggests how he might have finished the work: "Doubt is conquered not by the system but by faith, just as it is faith that has brought doubt into the world!."




Kierkegaard's Concluding Unscientific Postscript


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Besides a sense of personal loss at the death of David F. Swenson on February 11, 1940, I felt dismay that he had left unfinished his translation of the Unscientific Postscript. I had longed to see it published among the first of Kierkegaard's works in English. In the spring of 1935 it did not seem exorbitant to hope that it might be ready for the printer by the end of that year. For in March I learned from Professor Swenson that he had years before "done about two thirds of a rough translation." In 1937/38 he took a sabbatical leave from his university for the sake of finishing this work. Yet after all it was not finished- partly because Professor Swenson was already incapacitated by the illness which eventually resulted in his death; but also because he aimed at a degree of perfection which hardly can be reached by a translator. At one time he expressed to me his suspicion that perhaps, as in the translation of Kant's philosophy, it might require the cooperation of many scholars during several generations before the translation of Kierkegaard's terminology could be definitely settled. I hailed with joy this new apprehension, which promised a speedy conclusion of the work, and in the words of Luther I urged him to "sin boldly."--Editor's pref., p. [ix].




Kierkegaard's Writings


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Fear and Trembling


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In our time nobody is content to stop with faith but wants to go further. It would perhaps be rash to ask where these people are going, but it is surely a sign of breeding and culture for me to assume that everybody has faith, for otherwise it would be queer for them to be . . . going further. In those old days it was different, then faith was a task for a whole lifetime, because it was assumed that dexterity in faith is not acquired in a few days or weeks. When the tried oldster drew near to his last hour, having fought the good fight and kept the faith, his heart was still young enough not to have forgotten that fear and trembling which chastened the youth, which the man indeed held in check, but which no man quite outgrows. . . except as he might succeed at the earliest opportunity in going further. Where these revered figures arrived, that is the point where everybody in our day begins to go further.




Kierkegaard, Literature, and the Arts


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In this volume fifteen eminent scholars illuminate the broad and often underappreciated variety of the nineteenth‐century Danish thinker Søren Kierkegaard’s engagements with literature and the arts. The essays in Kierkegaard, Literature, and the Arts, contextualized with an insightful introduction by Eric Ziolkowski, explore Kierkegaard’s relationship to literature (poetry, prose, and storytelling), the performing arts (theater, music, opera, and dance), and the visual arts, including film. The collection is rounded out with a comparative section that considers Kierkegaard in juxtaposition with a romantic poet (William Blake), a modern composer (Arnold Schoenberg), and a contemporary singer‐songwriter (Bob Dylan). Kierkegaard was as much an aesthetic thinker as a philosopher, and his philosophical writings are complemented by his literary and music criticism. Kierkegaard, Literature, and the Arts will offer much of interest to scholars concerned with Kierkegaard as well as teachers, performers, and readers in the various aesthetic fields discussed. CONTRIBUTORS: Christopher B. Barnett, Martijn Boven, Anne Margrete Fiskvik, Joakim Garff, Ronald M. Green, Peder Jothen, Ragni Linnet, Jamie A. Lorentzen, Edward F. Mooney, George Pattison, Nils Holger Petersen, Howard Pickett, Marcia C. Robinson, James Rovira




Volume 2, Tome II: Kierkegaard and the Greek World - Aristotle and Other Greek Authors


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The articles in this volume employ source-work research to trace Kierkegaard's understanding and use of authors from the Greek tradition. A series of figures of varying importance in Kierkegaard's authorship are treated, ranging from early Greek poets to late Classical philosophical schools. In general it can be said that the Greeks collectively constitute one of the single most important body of sources for Kierkegaard's thought. He studied Greek from an early age and was profoundly inspired by what might be called the Greek spirit. Although he is generally considered a Christian thinker, he was nonetheless consistently drawn back to the Greeks for ideas and impulses on any number of topics. He frequently contrasts ancient Greek philosophy, with its emphasis on the lived experience of the individual in daily life, with the abstract German philosophy that was in vogue during his own time. It has been argued that he modeled his work on that of the ancient Greek thinkers specifically in order to contrast his own activity with that of his contemporaries.




Either/or


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Edifying Discourses


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