By Karsten Harries
If the Enlightenment became to cause to reoccupy where left vacant by way of the demise of God, the final centuries have undermined such religion in cause. we can't break out this heritage. the threat of nihilism haunts Either/Or. To exorcize it really is Kierkegaard´s such a lot basic situation. yet the place are we to show? To a classy transfiguration of, or get away from truth? Does ethics promise a solution? Or is all that's left an irrational jump to faith? All such questions are shadowed by means of the threat of Kitsch. What does it suggest to be actual within the glossy international?
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Additional resources for Between nihilism and faith : a commentary on Either/or
Kierkegaard’s problem is how to live authentically. To live authentically one has to first awaken to one’s freedom. Irony brings about such an awakening. In this sense it is a necessary condition of authenticity: “In 24 CI, 288 – 289 / SKS 1, 323. 25 CI, 292 / SKS 1, 326. 10 1. Introduction our age there has been much talk about the importance of doubt for science and scholarship, but what doubt is to science, irony is to personal life. ”26 But irony needs to be mastered, Kierkegaard insists. And does not Hegel present himself to us, as he is presented by Kierkegaard, as the master of irony?
Joakim Garff further suggests that the identity behind these pseudonyms was generally known to the public of the day, but that rules of social conduct prohibited explicit attribution ( Joakim Garff Søren Kierkegaard, pp. 394 – 395). Garff in this connection quotes Meïr Aaron Goldschmidt’s telling recollection of conversations with Kierkegaard: “He held strictly to anonymity. Just as I, of course, could neither know nor say that he was Frater Taciturnus, he was equally unwilling to admit any knowledge that I was connected with the editorship of The Corsair.
Alexander Gottlieb Baumgarten Reflections on Poetry, § 68, pp. 62 – 63 and § 71, p. 64. The auction-catalogue over Kierkegaard’s library does not indicate that he owned any books by Baumgarten, although a reference to the Reflections on Poetry (De nonnullis ad poema pertinentibus) is found in a journal entry from November, 1842, during the time he was completing work on Either/Or (Pap. IV C 103). That Either/Or works with a conception of beauty derived from the tradition of aesthetics inaugurated by Baumgarten is also clear from Judge William’s definition of “the beautiful as that which has its teleology within itself” (EO2, 272 / SKS 3, 259).