Bücher von Sören Kierkegaard

This is the most comprehensive anthology of Soren Kierkegaard's works ever assembled in English. Drawn from the volumes of Princeton's authoritative Kierkegaard's Writings series by editors Howard and Edna Hong, the selections represent every major aspect of Kierkegaard's extraordinary career. They reveal the powerful mix of philosophy, psychology, theology, and literary criticism that made Kierkegaard one of the most compelling writers of the nineteenth century and a shaping force in the twentieth. With an introduction to Kierkegaard's writings as a whole and explanatory notes for each selection, this is the essential one-volume guide to a thinker who changed the course of modern intellectual history. The anthology begins with Kierkegaard's early journal entries and traces the development of his work chronologically to the final The Changelessness of God. The book presents generous selections from all of Kierkegaard's landmark works, including Either/Or, Fear and Trembling, Works of Love, and The Sickness unto Death, and draws new attention to a host of such lesser-known writings as Three Discourses on Imagined Occasions and The Lily of the Field and the Bird of the Air. The selections are carefully chosen to reflect the unique character of Kierkegaard's work, with its shifting pseudonyms, its complex dialogues, and its potent combination of irony, satire, sermon, polemic, humor, and fiction. We see the esthetic, ethical, and ethical-religious ways of life initially presented as dialogue in two parallel series of pseudonymous and signed works and later in the "e;second authorship"e; as direct address. And we see the themes that bind the whole together, in particular Kierkegaard's overarching concern with, in his own words, "e;What it means to exist; . . . what it means to be a human being.? Together, the selections provide the best available introduction to Kierkegaard's writings and show more completely than any other book why his work, in all its creativity, variety, and power, continues to speak so directly today to so many readers around the world.

Presents an examination of the human heart. 'Deep within every man', the author writes, 'there lies the dread of being alone in the world, forgotten by God, overlooked among the household of millions upon millions'. Love, for him, is one of the central aspects of existence; it saves us from isolation and unites us to each other and God.

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.

The first existentialist philosopher is generally regarded to have been Sren Kierkegaard, a Danish philosopher, theologian, poet, social critic, and novelist. With a penchant for metaphor, sarcasm, and parables, he published critical works on organised religion, Christendom, morality, ethics, psychology, and the philosophy of religion. He emphasises the value of individual choice and dedication while placing a strong emphasis on how one should live as a "single individual" and prioritising tangible human experience above abstract thought.

»Leben kann man nur vorwärts.« Søren Kierkegaard gibt Anregungen zu den unterschiedlichsten Lebensbereichen wie Genuss, Natur, Liebe, aber auch Glaube und Ehe. Bis heute haben seine leuchtend klaren, amüsanten und zutiefst nachdenklichen Gedanken nicht an Aktualität verloren.

»Kierkegaard war, was nicht genug betont werden kann, eine echt nordische Gestalt von unheimlichen Klüften und unauslotbaren Abgründen, von einer Tiefe, ähnlich dem ewig brandenden Meer.« Walter NiggIn diesem Band sind vier kürzere Abhandlungen Kierkegaards aus der Zeit von 1843 bis 1849 vereinigt, die jedoch nicht minder zentral sind für Kierkegaards philosophisch-theologisches Denken als die frühen großen Schriften.›Die Krankheit zum Tode‹ (1849) untersucht ebenso wie die Abhandlung ›Der Begriff der Angst‹ (1844) das Wesen der Sünde. Während Kierkegaard im ›Begriff der Angst‹ dieses Phänomen als die Voraussetzung der Erbsünde bewußt nur psychologisch analysiert, geht er in ›Die Krankheit zum Tode‹ unmittelbar von christlichen Voraussetzungen aus und wendet sich scharf gegen Hegel, der nach seiner Ansicht die Kernbegriffe des christlichen Glaubens, vor allem den Schuldcharakter der Sünde - und damit das Hauptstück des Glaubens - auflöst. »Die Krankheit zum Tode ist Verzweiflung« und »Verzweiflung ist die Sünde«. Sünde liegt, christlich verstanden, nicht in der Erkenntnis, sondern im Willen, ihr Gegensatz ist nicht Tugend, sondern Glaube. Nur im Glauben ist die Sünde überwunden, die Krankheit geheilt. Auch die Abhandlung ›Furcht und Zittern‹ (1843) beschäftigt sich mit einem Zentralthema christlicher Philosophie, sie stellt den Versuch dar, das Wesen des Glaubens neu zu bestimmen. ›Furcht und Zittern‹ ist wohl das persönlichste Werk Kierkegaards, das, wie er 1849 in seinem Tagebuch vermerkt, sein eigenes Leben reproduziere. Die vierte Schrift unseres Bandes, die gleichzeitig mit ›Furcht und Zittern‹ erschien, ›Die Wiederholung‹ ist vor dem biographischen Hintergrund von Kierkegaards Verlobung mit Regine Olsen zu sehen. Sie variiert das gleiche Thema wie ›Furcht und Zittern‹, jedoch in einer kunstvollen literarischen Form, in der Liebesgeschichte eines jungen Menschen, an der das philosophische Problem der Wiederholung dargestellt wird.

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.

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.

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.

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.

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;

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.

In Philosophical Fragments the pseudonymous author Johannes Climacus explored the question: What is required in order to go beyond Socratic recollection of eternal ideas already possessed by the learner? Written as an afterword to this work, Concluding Unscientific Postscript is on one level a philosophical jest, yet on another it is Climacus's characterization of the subjective thinker's relation to the truth of Christianity. At once ironic, humorous, and polemical, this work takes on the "e;unscientific"e; form of a mimical-pathetical-dialectical compilation of ideas. Whereas the movement in the earlier pseudonymous writings is away from the aesthetic, the movement in Postscript is away from speculative thought. Kierkegaard intended Postscript to be his concluding work as an author. The subsequent "e;second authorship"e; after The Corsair Affair made Postscript the turning point in the entire authorship. Part One of the text volume examines the truth of Christianity as an objective issue, Part Two the subjective issue of what is involved for the individual in becoming a Christian, and the volume ends with an addendum in which Kierkegaard acknowledges and explains his relation to the pseudonymous authors and their writings. The second volume contains the scholarly apparatus, including a key to references and selected entries from Kierkegaard's journals and papers.

Soren Kierkegaard, the nineteenth-century Danish philosopher rediscovered in the twentieth century, is a major influence in contemporary philosophy, religion, and literature. He regarded Either/Or as the beginning of his authorship, although he had published two earlier works on Hans Christian Andersen and irony. The pseudonymous volumes of Either/Or are the writings of a young man (I) and of Judge William (II). The ironical young man's papers include a collection of sardonic aphorisms; essays on Mozart, modern drama, and boredom; and "e;The Seducer's Diary."e; The seeming miscellany is a reflective presentation of aspects of the "e;either,"e; the esthetic view of life. Part II is an older friend's "e;or,"e; the ethical life of integrated, authentic personhood, elaborated in discussions of personal becoming and of marriage. The resolution of the "e;either/or"e; is left to the reader, for there is no Part III until the appearance of Stages on Life's Way. The poetic-reflective creations of a master stylist and imaginative impersonator, the two men write in distinctive ways appropriate to their respective positions.