Bücher von Søren Kierkegaard

Bogen blev skrevet i Berlin, efter at Kierkegaard havde brudt sin forlovelse med Regine Olsen. Bogen afspejler i høj grad Kierkegaards tanker om det erotiske, om forførelse, om følelsesmæssig splittelse og om ægteskabet. Den første del består af "A"s papirer og "Forførerens Dagbog", og præsenterer eksistensens "æstetiske" stadie. "A"s papirer tager form som en række forskelligartede tekster, der kredser om det æstetiske og om en æstetisk livsform. "Forførerens Dagbog" har det interessante som højeste værdi. Han bruger ironi, list, lunefuldhed, fantasi og vilkårlighed til at konstruere poetisk tilfredsstillende muligheder; han er ikke så interesseret i selve forførelsens akt, men i at skabe den interessante mulighed for forførelse.

Writing under the pseudonym of Johannes de silentio, Kierkegaard uses the form of a dialectical lyric to present his conception of faith. Abraham is portrayed as a great man, who chose to sacrifice his son, Isaac, in the face of conflicting expectations and in defiance of any conceivable ethical standard. The infamous and controversial 'teleological suspension of the ethical' challenged the contemporary views of Hegel's universal moral system, and the suffering individual must alone make a choice 'on the strength of the absurd'. Kierkegaard's writings have inspired both modern Protestant theology and existentialism.

Søren Kierkegaards "Stadier på livets vej" indeholder særdeles interessante betragtninger over manden og kvinden. "Stadier på livets vej" rummer Søren Kierkegaards længste fiktionstekst og er særdeles underholdende på trods af det indviklede emne, som Søren Kierkegaard her behandler.Den danske teolog og filosof Søren Aabye Kierkegaard (1813-1855) regnes som eksistentialismens grundlægger og den største danske filosof nogensinde. ”Enten-eller”, ”Begrebet angst” og ”Frygt og bæven” er nogle af de mest indflydelsesrige værker, som Danmark har bidraget med til den internationale filosofihistorie.

Stages on Life's Way, the sequel to Either/Or, is an intensely poetic example of Kierkegaard's vision of the three stages, or spheres, of existence: the esthetic, the ethical, and the religious. With characteristic love for mystification, he presents the work as a bundle of documents fallen by chance into the hands of "e;Hilarius Bookbinder,"e; who prepared them for printing. The book begins with a banquet scene patterned on Plato's Symposium. (George Brandes maintained that "e;one must recognize with amazement that it holds its own in this comparison."e;) Next is a discourse by "e;Judge William"e; in praise of marriage "e;in answer to objections."e; The remainder of the volume, almost two-thirds of the whole, is the diary of a young man, discovered by "e;Frater Taciturnus,"e; who was deeply in love but felt compelled to break his engagement. The work closes with a letter to the reader from Taciturnus on the three "e;existence-spheres"e; represented by the three parts of the book. Stages on Life's Way not only repeats themes, characters, and pseudonymous authors of the earlier works but also goes beyond them and points to further development of central ideas in Concluding Unscientific Postscript. ?

In his praise for Part I of Upbuilding Discourses in Various Spirits, the eminent Kierkegaard scholar Eduard Geismar said, "e;I am of the opinion that nothing of what he has written is to such a degree before the face of God. Anyone who really wants to understand Kierkegaard does well to begin with it."e; These discourses, composed after Kierkegaard had initially intended to end his public writing career, constitute the first work of his "e;second authorship."e; Characterized by Kierkegaard as ethical-ironic, Part One, "e;Purity of Heart Is to Will One Thing,"e; offers a penetrating discussion of double-mindedness and ethical integrity. Part Two, "e;What We Learn from the Lilies in the Field and from the Birds of the Air,"e; humorously exposes an inverted qualitative difference between the learner and the teacher. In Part Three, "e;The Gospel of Sufferings, Christian Discourses,"e; the philosopher explores how joy can come out of suffering.

In der Lilie auf dem Feld und dem Vogel unter dem Himmel entdeckt Søren Kierkegaard die Lehrmeister im Schweigen, im Gehorsam und der Freude - den drei überzeitlichen Lebenshaltungen auf dem Weg zur Erkenntnis dessen, »was es heißt, Mensch zu sein«. Mit der Beharrungskraft des Gläubigen richtet sich Kierkegaards Lektüre gegen säkulare Beliebigkeit und mahnt dazu, »zuerst nach dem Gottesreich zu trachten«.Seine Drei Reden, Gott betreffend veröffentlichte Kierkegaard, einer der bedeutendsten Philosophen des 19. Jahrhunderts, 1849, einem seiner produktivsten Jahre. Als mitreißender Prediger unterzieht er einen Abschnitt der Bergpredigt (»Niemand kann zwei Herren dienen«) einer bezwingenden philosophischen Auslegung. Inmitten der »frohen Botschaft« des an der Oberfläche versöhnlichen Evangeliums tut sich bei Kierkegaard ein Abgrund auf, der dem Menschen Eindeutigkeit abverlangt: »Entweder Gott lieben - oder ihn hassen.« Ein Vademecum der spirituellen Disziplin, wird Kierkegaards dreifache Rede Die Lilie auf dem Feld und dem Vogel unter dem Himmel in der Neuübersetzung von Peter Urban-Halle zur Demonstration rhetorischer Kunst und Aufforderung zu radikaler Weltverneinung. Ihre Leser will sie zur Entschiedenheit anstiften, nicht aber ohne Trost zu spenden: »Lerne also von der Lilie und dem Vogel. Wirf all deine Sorge auf Gott!«

Dans le Point de vue de 1848, Kierkegaard affirme qüen toute son ¿uvre le Poétique est subordonné au Dialectique. Étant dialectique, l¿¿uvre kierkegaardienne est entièrement structurée par des concepts, et par là intégralement philosophique, même si Kierkegaard répugne à se parer du titre de philosophe comme il répugne à se parer du titre de chrétien : non seulement parce que ces deux titres sont trop souvent usurpés dans la culture de son temps, mais encore parce que la qualification de l¿existant par lui-même est forcément risquée lorsque le qualificatif est un idéal auquel il a dynamiquement à se mesurer, plutôt que l¿attribut d¿un sujet. Outre une fine connaissance de la langue-source (le danois) et de la langue-cible (le français), traduire Kierkegaard exige donc une solide formation philosophique. C¿est à témoigner d¿un tel enjeu textuel qüa travaillé Hélène Politis en traduisant ce livre si dense, cette épure de philosophie que sont les Miettes philosophiques de 1844.

Décryptez la pensée de Kierkegaard avec l'analyse de Paideia éducation !Que faut-il retenir de l'¿uvre du philosophe ? Retrouvez tout ce que vous devez savoir de Kierkegaard dans une analyse de référence pour comprendre rapidement le sens de sa pensée. Rédigée de manière claire et accessible par un enseignant, cette analyse propose notamment une biographie du philosophe, une étude de sa pensée et une bibliographie de ses principaux ouvrages.Une analyse philosophique complète et détaillée pour mieux comprendre le philosophe !Paideia éducation en deux mots : Plébiscité aussi bien par les passionnés de philosophie que par les lycéens, Paideia éducation est considéré comme une référence en matière d'analyses d'¿uvres littéraires et philosophiques. Celles-ci ont été conçues pour guider les lecteurs et rendre accessible des ouvrages et philosophes de premier plan. Nos auteurs appartiennent aux milieux universitaire et de l'éducation, gage de sérieux pour vous faire découvrir les plus grands auteurs de la philosophie mondiale.

Kierkegaard, a poet of ideals and practitioner of the indirect method, also had a direct and polemical side. He revealed this in several writings throughout his career, culminating in The Moment, his attack against the established ecclesiastical order. Kierkegaard was moved to criticize the church by his differences with Bishop Mynster, Primate of the Church of Denmark. Although Mynster saw in Kierkegaard a complement to himself and his outlook, Kierkegaard challenged Mynster to acknowledge the emptying and estheticizing of Christianity that had occurred in modern Christendom. For three years Kierkegaard was silent, waiting. When Mynster died, he was memorialized as "e;an authentic truth-witness"e; in the "e;holy chain of truth-witnesses that stretches through the ages from the days of the apostles."e; This struck Kierkegaard as blasphemous and inspired him to write a series of articles in Faedrelandet, which he followed with ten numbers of the pamphlet The Moment. This volume includes the articles from Faedrelandet, all numbers of The Moment, and several other late pieces of Kierkegaard's writing.

"e;Without authority,"e; a phrase Kierkegaard repeatedly applied to himself and his writings, is an appropriate title for this volume of five short works that in various ways deal with the concept and practice of authority. The Lily in the Field and the Bird of the Air contemplates the teaching authority of these creatures based on three different passages in the Gospels. The first of Two Ethical-Religious Essays mediates on the ethics of Jesus' martyrdom; the second contrasts the authority of the genius with that of the apostle. The remaining works--Three Discourses at the Communion on Fridays (1849), An Upbuilding Discourse (1850), and Two Discourses at the Communion on Fridays (1851)--are meditations on sin, forgiveness, and the power of love.

First published in 1848, Christian Discourses is a quartet of pieces written and arranged in contrasting styles. Parts One and Three, "e;The Cares of the Pagans"e; and "e;Thoughts That Wound from Behind--for Upbuilding,"e; serve as a polemical overture to Kierkegaard's collision with the established order of Christendom. Yet Parts Two and Four, "e;Joyful Notes in the Strife of Suffering"e; and "e;Discourses at the Communion on Fridays,"e; are reassuring affirmations of the joy and blessedness of Christian life in a world of adversity and suffering. Written in ordinary language, the work combines simplicity and inwardness with reflection and presents crucial Christian concepts and presuppositions with unusual clarity. Kierkegaard continued in the pattern that he began with his first pseudonymous esthetic work, Either/Or, by pairing Christian Discourses with The Crisis, an unsigned esthetic essay on contemporary Danish actress Joanne Luise Heiberg.

Prefaces was the last of four books by Soren Kierkegaard to appear within two weeks in June 1844. Three Upbuilding Discourses and Philosophical Fragments were published first, followed by The Concept of Anxiety and its companion--published on the same day--the comically ironic Prefaces. Presented as a set of prefaces without a book to follow, this work is a satire on literary life in nineteenth-century Copenhagen, a lampoon of Danish Hegelianism, and a prefiguring of Kierkegaard's final collision with Danish Christendom. Shortly after publishing Prefaces, Kierkegaard began to prepare Writing Sampler as a sequel. Writing Sampler considers the same themes taken up in Prefaces but in yet a more ironical and satirical vein. Although Writing Sampler remained unpublished during his lifetime, it is presented here as Kierkegaard originally envisioned it, in the company of Prefaces.

Kierkegaard explored comic perception to its inward depths. He also practised the art of comedy as astutely as any writer of his time. This book shows how his theory of comedy is integrated into his practice of comic perception, and how both his theory and practice of comedy are integral to his entire authorship.

A religious diatribe written from within the Church against the established order of things in a presumably "Christian" land.

There is much to be learned philosophically from this volume, but philosophical instruction was not Kierkegaard's aim here, except in the broad sense of self-knowledge and deepened awareness. Indicating the intention of the discourses, the titles include "e;The Expectancy of Faith,"e; "e;Love Will Hide a Multitude of Sins,"e; "e;Strengthening in the Inner Being,"e; "e;To Gain One's Soul in Patience,"e; "e;Patience in Expectancy,"e; and "e;Against Cowardliness."e; In tone and substance these works are in accord with the concluding words of encouragement in Either/Or, which was paired with the first volume of discourses: "e;Ask yourself and keep on asking until you find the answer, for one may have known something many times, acknowledged it; one may have willed something many times, attempted it--and yet, only the deep inner motion, only the heart's indescribable emotion, only that will convince you that what you have acknowledged belongs to you, that no power can take it from you--for only the truth that builds up is truth for you."e;

The Corsair affair has been called the "e;most renowned controversy in Danish literary history."e; At the center is Soren Kierkegaard, whose pseudonymous Stages on Life's Way occasioned a frivolous and dishonorable review by Peder Ludvig Moller. Moller was associated with The Corsair, a publication notorious for gossip and caricature. The editor was Meir Goldschmidt, an acquaintance of Kierkegaard's and an admirer of his early work. Kierkegaard struck back at not only Moller and Goldschmidt but at the paper as a whole. The present volume contains all of the documents relevant to this dispute, plus a historical introduction that recapitulates the sequence of events surrounding the controversy. Parts I (Article) and II (Addenda) contain articles both signed by and attributed to Kierkegaard in response to the affair. A supplement includes writings pertaining to the Corsair affair by Goldschmidt and Moller, as well as unpublished pieces by Kierkegaard from his journals and papers. Although the immediate occasion was literary, for Kierkegaard the issues as well as the consequences were ethical, social, philosophical, and religious. Howard Hong argues that the most important consequence was wholly unexpected and unintended: the second phase of Kierkegaard's authorship.

For Self-Examination and its companion piece Judge for Yourself! are the culmination of Soren Kierkegaard's "e;second authorship,"e; which followed his Concluding Unscientific Postscript. Among the simplest and most readily comprehended of Kierkegaard's books, the two works are part of the signed direct communications, as distinguished from his earlier pseudonymous writings. The lucidity and pithiness, and the earnestness and power, of For Self-Examination and Judge for Yourself! are enhanced when, as Kierkegaard requested, they are read aloud. They contain the well-known passages on Socrates' defense speech, how to read, the lover's letter, the royal coachman and the carriage team, and the painter's relation to his painting. The aim of awakening and inward deepening is signaled by the opening section on Socrates in For Self-Examination and is pursued in the context of the relations of Christian ideality, grace, and response. The secondary aim, a critique of the established order, links the works to the final polemical writings that appear later after a four-year period of silence.

Of the many works he wrote during 1848, his "e;richest and most fruitful year,"e; Kierkegaard specified Practice in Christianity as "e;the most perfect and truest thing."e; In his reflections on such topics as Christ's invitation to the burdened, the imitatio Christi, the possibility of offense, and the exalted Christ, he takes as his theme the requirement of Christian ideality in the context of divine grace. Addressing clergy and laity alike, Kierkegaard asserts the need for institutional and personal admission of the accommodation of Christianity to the culture and to the individual misuse of grace. As a corrective defense, the book is an attempt to find, ideally, a basis for the established order, which would involve the order's ability to acknowledge the Christian requirement, confess its own distance from it, and resort to grace for support in its continued existence. At the same time the book can be read as the beginning of Kierkegaard's attack on Christendom. Because of the high ideality of the contents and in order to prevent the misunderstanding that he himself represented that ideality, Kierkegaard writes under a new pseudonym, Anti-Climacus.

This volume provides the first English translation of all the known correspondence to and from Soren Kierkegaard, including a number of his letters in draft form and papers pertaining to his life and death. These fascinating documents offer new access to the character and lifework of the gifted philosopher, theologian, and psychologist. Kierkegaard speaks often and openly about his desire to correspond, and the resulting desire to write for a greater audience. He consciously recognizes letter-writing as an opportunity to practice composition. Unlike most correspondence, Kierkegaard's letters expressly "e;do not require a reply"e;--he insists on this as a principle, while he clearly and earnestly yearns for a response to his efforts. Among his other principles are purposefulness, directness, and the equality of a letter to a visit with a friend (Kierkegaard preferred the former to the latter). Perhaps more than anything else in print, Kierkegaard's Letters and Documents reveal his love affair with the written word.

Kierkegaard was driven to write The Book on Adler after news spread that a Danish pastor, Adolph P. Adler, claimed to have experienced a revelation in which Christ dictated a new doctrine. Like many others, Kierkegaard was intrigued by Adler--but for different reasons than most. Over the eight years during which Kierkegaard worked on the manuscript, the phenomenon of Adler became a concern secondary to the larger question of authority. Kierkegaard revised the manuscript many times, and published a segment of it as "e;The Difference between a Genius and an Apostle"e; in Two Ethical-Religious Essays, but did not publish the work as a whole before his death. The latest integral version of The Book on Adler is included here, along with excerpts from the earlier drafts and a sampling of writing by Adler himself.

Three Discourses on Imagined Occasions was the last of seven works signed by Kierkegaard and published simultaneously with an anonymously authored companion piece. Imagined Occasions both complements and stands in contrast to Kierkegaard's pseudonymously published Stages on Life's Way. The two volumes not only have a chronological relation but treat some of the same distinct themes. The first of the three discourses, "e;On the Occasion of a Confession,"e; centers on stillness, wonder, and one's search for God--in contrast to the speechmaking on erotic love in "e;In Vino Veritas,"e; part one of Stages. The second discourse, "e;On the Occasion of a Wedding,"e; complements the second part of Stages, in which Judge William delivers a panegyric on marriage. The third discourse, "e;At a Graveside,"e; sharpens the ethical and religious earnestness implicit in Stages's "e;'Guilty'/'Not Guilty'"e; and completes this collection.

Early Polemical Writings covers the young Kierkegaard's works from 1834 through 1838. His authorship begins, as it was destined to end, with polemic. Kierkegaard's first published article touches on the theme of women's emancipation, and the other articles from his student years deal with freedom of the press. Modern readers can see the seeds of Kierkegaard's future career these early pieces. In "e;From the Papers of One Still Living,"e; his review of Hans Christian Andersen's novel Only a Fiddler, Kierkegaard rejects the notion that environment is decisive in determining the fate of genius. He also puts forward his belief that each person needs a life-view or life for which and by which to live, a thought he explores further in the comic play The Battle between the Old and the New Soap-Cellars.

A collection of known eyewitness account of the great Danish thinker Soren Kierkegaard (1813-1855). It contains accounts, ranging from the writings of Meir Aron Goldschmidt, editor of "The Corsair", to the recollections of Kierkegaard's fiancee.