The place and significance of religious community is a central concern in recent continental philosophy of religion. Although Kierkegaard is a significant influence for many recent continental philosophers of religion, recent work on his social thought is largely ignored. I begin the paper by describing how recent continental philosophers of religion, in particular John Caputo, John Milbank, and Jürgen Habermas, have used Kierkegaard in order to address social questions. Then I show how recent work on Kierkegaard’s social thought – namely, (...) his social ontology and his account of community – that can enrich discussion in recent continental philosophy of religion about the nature of religious community. (shrink)

In this paper I argue that Kierkegaard endorses Hegel's theory of mediation, the view that relative opposites are mediated. However, I show that Kierkegaard denies Hegel's thesis that there are all and only relative opposites. I develop two of his arguments against this thesis. The first is existential. This argument comes from the dramatic interplay between A, the often disagreeable aesthete of Either/Or I, and Judge William, the dutiful ethicist of Either/Or II. Judge William convincingly argues that the possibility of (...) future aiming human projects is rendered obsolete if aesthetic and ethical forms of existence are mediated opposites. The second is philosophical. This second argument is offered by Johannes Climacus in Concluding Unscientific Postscript. I show that Climacus issues a reductio argument that I call "the argument from insufficient difference.". (shrink)

In this article, I embark on an analysis of Søren Kierkegaard's view of human otherness in strict correlation to his Christian philosophy. More specifically, my aim is to show that Kierkegaard's thought is essentially informed by a decisive appropriation of the soteriological category of sin which has momentous implications for Kierkegaard's views of selfhood and intersubjectivity. The main argument is that both Kierkegaard's negative evaluation of human otherness and his acerbic indictments of any collectivist interference in salvific matters cohere with (...) his appropriation of the doctrine of the Fall. At the same time, I show in what sense Kierkegaard deems human alterity to be indispensable to one's spiritual self-becoming expressed through the Christian imperative of loving the other as neighbor. Seen thus, agape, while supplementing Kierkegaard's creationistic psychology, actually becomes the necessary restorative opposite of sinfulness in the self's encounters with the distinct uniqueness of the human other. (shrink)

In Practice in Christianity, Søren Kierkegaard's pseudonym, Anti-Climacus enters into an extended engagement with Matthew 11.6, ‘Blessed is he who takes no offense at me’. In so doing, he comes to an understanding that ‘the possibility of offense’ characterises the ‘crossroad’ at which one either comes to faith in Christ's revelation or rejects it. Such a choice, as he is well aware, cannot be made from a neutral standpoint, and so he is led to propose that it is ‘the thoughts (...) of the heart’ (i.e. a person's disposition) that constitute the pivotal factor in determining whether or not God will reconcile a person into the Christian faith. In this paper, I discuss Anti-Climacus' interpretation of Mt. 11.6 and consider his reasons for interpreting a person's predisposition as being so decisive for faith. (shrink)

In his influential book After Virtue, Alasdair MacIntyre identifies Kierkegaard's view of ethics with that of Kant. Both Kant and Kierkegaard, according to MacIntyre, accept the modern paradigm of moral activity for which freedom of the will is the ultimate basis. Ronald M. Green, in Kierkegaard and Kant: The Hidden Debt, accepts and deepens this alignment between the two thinkers. Green argues that Kierkegaard deliberately obscured his debt to Kant by a systematic “misattribution” of his ideas to other thinkers, and (...) to classical philosophy in particular. This essay argues that MacIntyre and Green are mistaken in identifying Kierkegaard with the Kantian tradition of moral autonomy and that they overlook his debt to the classical conception of virtue. In casting Kierkegaard in the role of the quintessential exponent of a modern conception of freedom, they have perhaps overlooked one of the greatest critics of moral autonomy who has ever lived. (shrink)

In the debate between positivism and non-positivism the argument from relativism plays a pivotal role. The argument from relativism, as put forward, for instance, by Hans Kelsen, says, first, that a necessary connection between law and morality presupposes the existence of absolute, objective, or necessary moral elements, and, second, that no such absolute, objective, or necessary moral elements exist. My reply to this is that absolute, objective, or necessary moral elements do exist, for human rights exist, and human rights exist (...) because they are justifiable. (shrink)

This essay examines texts from Kierkegaard's signed and pseudonymous authorship on immortality and the resurrection, challenging the received opinion that Kierkegaard's account of eternal life merely connotes a temporal, existential modality of experience as a present eternity. Kierkegaard's thoughts on immortality are more complicated than this reading allows. I demonstrate that Kierkegaard's ideas on the afterlife emerge out of a context in which the topic had been vigorously debated in both Germany and Denmark for more than a decade. In responding (...) to these debates, Kierkegaard establishes a "new argument" for immortality that stands as a robust account of the Christian resurrection and highlights the power of a personal God at the center of life, death, and post-mortem existence. (shrink)

Mozart's great opera, Don Giovanni, poses a number of significant philosophical and aesthetic challenges, and yet it remains, for the most part, little discussed by contemporary philosophers. A notable exception to this is Bernard Williams's important paper, ‘Don Juan as an Idea’, which contains an illuminating discussion of Kierkegaard's ground-breaking interpretation of the opera, ‘The Immediate Erotic Stages or the Musical-Erotic’, in Either/Or. Kierkegaard's pseudonymous author's approach here is, in some respects, reminiscent of a currently rather fashionable narrative-inspired moral philosophy, (...) of which Williams himself is perhaps the most impressive recent exponent. In the light of this apparent methodological confluence, Williams's disagreement with A about the meaning of Don Giovanni's final two scenes seems particularly significant. By offering an interpretation of Don Giovanni that both retains A's fundamental ideas and manages to get round the problems in Williams's account, I will show that the greatness of Mozart's opera is largely a function of the challenge it presents to the ‘morality system’. (shrink)