The present article deals with religious faith by comparing the so-called double movement of faith in Kierkegaard to Kant's moral faith. Kierkegaard's double movement of faith and Kant's moral faith can be seen as providing different accounts of religious faith, as well as involving different solutions to the problem of realizing the highest good. The double movement of faith in Fear and Trembling provides an account of the structure of faith that helps us make sense of what Kierkegaard means by (...) religious faith in general, as well as to understand better the relation between philosophy and Christian thinking in Kierkegaard. It is argued that previous scholarship has described the relation between Kierkegaard and Kant in a misleading manner by interpreting Kant as an ethicist and overlooking the role of grace in Kant. (shrink)

This essay tries to show that there exist several passages where Kierkegaard (and his pseudonyms) sketches an argument for the existence of God and immortality that is remarkably similar to Kant's so-called moral argument for the existence of God and immortality. In particular, Kierkegaard appears to follow Kant's moral argument both when it comes to the form and content of the argument as well as some of its terminology. The essay concludes that several passages in Kierkegaard overlap significantly with Kant's (...) moral argument, although Kierkegaard ultimately favors revealed faith over natural theology in general and Kant's moral faith in particular. Whereas Kant uses the moral argument to postulate the existence of God and immortality, Kierkegaard mainly uses it as a reductio ad absurdum of non-religious thinking. (shrink)

Wittgenstein probably did not believe in Christ's Resurrection (as an historical event), but he may well have believed that if he had achieved a higher level of devoutness he would believe it. His view seems to have been that devout Christians are right in holding onto this belief tenaciously even though, in fact, it's false. It's historical falsity, is compatible with its religious validity, so to speak. So far as I can see, he did not think that devout Christians should (...) believe that it doesn't really matter whether or not that alleged historical event occurred. (shrink)

In this paper, I examine Johannes de Silentio’s presentation of the faith of Abraham, deriving therefrom a new way of conceiving his notion of faith as a paradoxical co-inhabiting of both the aesthetic and the ethical stages, rather than as a rejection, synthesis, or overcoming of them. Relying largely upon Silentio’s account of Abraham’s faith as anxious but not doubting, I argue that the interpretations of Fear and Trembling by Alastair Hannay and Mark C. Taylor fail to account for some (...) essential aspects of Silentio’s depiction. I conclude that faith, as it is described in Fear and Trembling, cannot be philosophically understood as it is not an object for thought but an existential perspective one lives. (shrink)

Is it possible for there to be a fruitful dialogue between Søren Kierkegaard and Buddhists regarding the understanding of the self? In this paper, I explore the possibilities for such a dialogue by first discussing the rejection of substantialism shared by Kierkegaard and Buddhists. Next, although many Buddhists accept a reductionist account of the kind found in the Abhidharma tradition, Madhyamaka thinkers such as Nāgārjuna and Candrakīrti are well-known for offering an account of the self, based on the notion of (...) emptiness, which resembles in some ways the account of the self that is proposed by Kierkegaard’s pseudonym Anti-Climacus in The Sickness Unto Death. Third, I discuss Jonardon Ganeri’s performativist theory of the self and his suggestion that this view, originally developed by Candrakīrti, informs the view of the self which is developed by Kierkegaard’s pseudonym Johannes Climacus in the Concluding Unscientific Postscript. I conclude by exploring how Ganeri’s perfomativist theory of the self can illuminate recent attempts by both Buddhist and Kierkegaard scholars to articulate their accounts of the self by an appeal to narrative. (shrink)

This paper makes the point that Kierkegaard’s ideas concerning individuality cannot be understood clearly without placing them in the context of what I am calling ontological isolation. This means the radical deprivation by selfhood of every aspect of reality, to the point where not even the possibility or illusion of reality is available to the self. In this context the self is required to become itself, forming itself in and out of its own absolute nothingness, ontological destitution, or wrongness. With (...) this form of isolation as our investigative key, we unlock what Kierkegaard means by his command to become a self, where becoming itself, in absence of prior possibility, constitutes the reality of self, and why Kierkegaard places crucial emphasis, contrary to the tradition, on the priority of negativity. By having the self originate itself in “absolute difficulty,” or that wherein the act itself, or pure doing without result, is primary, Kierkegaard now replaces metaphysics with ethics in order of priority, and places the self inseparably in a world that responds directly to that act. I show here a parallel between Kierkegaard’s approach to ethical action with that of artistic creation of a kind of world, the work of art. In doing so I reveal the inadequacy of interpretations that would impose traditional forms of isolation, social and cosmic, on Kierkegaard, as some of his critics do, or that would place Kierkegaard’s ethics within traditional developmental models, as many of his sympathizers do. (shrink)

One of the most hotly contested debates in Kierkegaard studies concerns his sense of the relationship between faith and reason. Often caricatured as a proponent of irrational fideism, scholarship in recent decades has tried to present a more nuanced account of Kierkegaard’s position. Two likely interpretive options have emerged: supra‐rationalism and anti‐rationalism. On the former view, Kierkegaard believes that while the achievement of faith is beyond the capabilities of reason, there are still ways that reason can aid the maintenance of (...) faith once reason’s limits are recognized. On the latter view, faith is a constant struggle against rationalizing justification, and thus, any attempt to use reason to assist in the maintenance of faith is a mistake. Interestingly, a comparison with Pascal can help one arbitrate between these two responses to the dubious irrationalist reading of Kierkegaard. (shrink)

The explicit topic of Fear and Trembling's third Problema (the longest single section, accounting for a third of the book's total length), the theme of Abraham's silence stands not far in the background in every other section, and its importance is flagged by the pseudonym—Johannes de silentio—under which Kierkegaard had the book published. Here I aim to defend an interpretation of the meaning of the third Problema's central claim—that Abraham cannot explain himself, 'cannot speak'—and to argue on its basis for (...) an interpretation of the work as a whole. (shrink)

Kierkegaard in Fear and Trembling presents a reductio ad absurdum regarding the time-spans subject to moral evaluation. The text's classic dilemma depends on assuming that we only evaluate discrete, contextless instants. The pseudonymous author constantly seeks the single instant or moral “photograph” that indicates Abraham's status. Doing so, however, extracts scripture's moral legislation out from narrative, resulting in theological paralysis and thereby requiring an alternative temporal vocabulary for evaluating Abraham. Fear and Trembling contains an under-explored alternative that sets Abraham within (...) the covenantal narrative's temporality. The paper explores the consequences of shifting from evaluating instants to evaluating narrative durations, showing that while Genesis 22 remains a challenging episode, it also offers a model of imaginative faith, fidelity to promises, and hope in the face of trauma that focusing on moral instants overlooks. (shrink)