This article demonstrates a novel conceptualization of sublimity: the sublime in the pedestrian. This pedestrian mode of sublimity is exemplified by the Biblical Abraham, the central figure of Kierkegaard’s pseudonymous Fear and Trembling. It is rooted in the analysis of one of the foundational stories of the three monotheistic religions: Abraham’s averted sacrifice of his son Isaac. The defining feature of this new, pedestrian mode of sublimity is that is remains hidden behind what I call a total incognito. It (...) is similar to the classical ‘elevated mode of sublimity’ as developed by Burke, Kant, and Schiller insofar as it denotes two contrasting feelings at once: repulsion and attraction. It is different insofar as Kierkegaard’s pedestrian mode of sublimity remains hidden from view and can only be shown indirectly. This article expounds the new, pedestrian mode of sublimity by investigating the relation between the incognito and the sublime in Fear and Trembling. It achieves that goal by engaging three perspectives: (1) the sublime failure that comes to the fore in the incognitos of an imaginary Abraham; (2) the ‘fear without being afraid’ that is invoked by God’s incognitos; (3) the total incognito of the pedestrian which conceals Abraham’s sublimity. (shrink)

Johannes de Silentio, the pseudonymous author of Fear and Trembling, purports to be an individual who admires faith but cannot attain to its unearthly standards. The discontinuity between Kierkegaard, who self-identified as a religious author, and de Silentio, who approaches Abraham in self-doubt, is apparent—and as a result, some have argued for an utter dissociation between these two authors. I argue that such dissociation undermines the potency of the work, especially with regard to the perspective on faith presented therein. (...) The significance of de Silentio’s perspective becomes clear when set against the backdrop of Kierkegaard’s view of the relationship between anxiety and faith; in this light, de Silentio turns out to represent an early stage of the individual’s religious development, and Kierkegaard turns out to have recently surpassed this stage before writing the work. (shrink)

This article interrogates a certain philosophical scene – one which constitutes itself through the position of what Jacques Derrida calls “the ethical instance of violence.” This scene supposes a certain “style” of writing or doing philosophy, and perhaps even a certain philosophical “genre” or “subgenre”: the philosophical discourse on violence. In the course of the essay, I analyze this quasi-juridical scene through readings of Aristotle, Walter Benjamin, Giorgio Agamben, Judith Butler, Slavoj Žižek, Werner Hamacher, Rodolphe Gasché, and Martin Hägglund among (...) others. The scene, built on texts on texts on violence, demands a logic of purity; it is wary of contaminations and equivocations. And yet it thrives on them. In analyzing the implications of text, writing, and trace for the philosophical discourse on violence, I follow Derrida “just to see” what could make the scene tremble. (shrink)

My central claim in this paper is that Kierkegaard’s Fear and Trembling is governed by the basic aim to articulate a real dilemma, and to elicit its proper recognition as such. I begin by indicating how Kierkegaard’s works are shaped in general by this aim, and what the aim involves. I then show how the dilemmaticstructure of Fear and Trembling is obscured in a recent dispute between Michelle Kosch and John Lippitt regarding the basic aims and upshot of (...) the book. Finally, I consider two critical questions: Why does Kierkegaard present his dilemmatic reasoning in the form of a “dialectical lyric”? And why does he write a book that aims only to articulate a dilemma, and not also to resolve it? (shrink)

In this article, I examine the possible thought experimenting qualities of Soren Kierkegaard's novel Fear and Trembling and in which way it can be explanatory. Kierkegaard's preference for pseudonyms, indirect communication, Socratic interrogation, and performativity are identified as features that provide the narrative with its thought experimenting quality. It is also proposed that this literary fiction functions as a Socratic-theological thought experiment due to its influences from both philosophy and theology. In addition, I suggest three functional levels of the (...) fictional narrative that, in different ways, influence its possible explanatory force. As a theoretical background for the investigation, two accounts of literary cognitivism are explored: Noel Carroll's Argument Account and Catherine Elgin's Exemplification Account. In relation to Carroll's proposal, I conclude that Fear and Trembling develops a philosophical argumentation that is dependent on the reader's own existential contribution. In relation to Elgin's thought, the relation between truth and explanatory force is acknowledged. At the end of the article, I argue that it is more accurate to see the explanatory force of Fear and Trembling in relation to its exploratory function. (shrink)

In Fear and Trembling Kierkegaard writes that Abraham intended to sacrifice Isaac for God’s sake as well as for his own sake. Drawing mainly on The Sickness unto Death I will argue that Kierkegaard construes Abraham as becoming a true self, that is, as someone who becomes self-transparent before God. What this means and how our relationship with God is supposed to be involved in the process of becoming a self is the focus of my paper. While various articles (...) have been written on that topic, my aim here is to give the most charitable interpretation of Kierkegaard’s theses and the theological concepts involved. (shrink)

The aim of my paper is to interpret S. Kierkegaard's concept of a leap as a metaphor for the process of moving from one conceptual scheme to another. The basis for this reading of the concept is provided by the growing recognition of Kierkegaard's philosophy as dealing with conceptual schemes, equipements or paradigms through which reality is interpreted. I use Kierkegaard's metaphor as a point of departure for the analysis of the conditions of possibility and the very process of changing (...) conteptual schemes in general. I use the story of Abraham and Isaac, as described in „Fear and Trembling”, as a source of examples illustrating more general points I make during my analysis. Firstly, I present a general understanding of what a conceptual scheme is and how it is functioning. Afterwards, I show how this functioning is impaired in case of Abraham and Isaac. Finally, I put forward a hypothesis that the problems that Abraham's scheme is encountering due to God's demand to sacrifice Isaac can all be reduced to the fact that a very deep change in meaning of certain terms within the conceptual scheme, such as "God", "good" or "duty", has occured. The adoption of new meanings would be equivalent to moving into another conceptual scheme. (shrink)

Victor Eremita proposes that the reader understand parts I and II of Either/Or as parties in a dialogue; most readers in fact view II as a devastating reply to I. I suggest that part I be read as a reaction or follow-up to Kierkegaard’s dissertation. Much of part I presents reflective characters who are aware of their freedom but reluctant or unable to adopt the ethical life. The modern Antigone and the Silhouettes are sisters of Alcibiades—failed students of Socrates. I (...) articulate and defend their modes of loving, which are significantly different from Don Giovanni’s and Johannes the Seducer’s purely aesthetic approaches to love. Such feminine love, I argue, dwells in the disputed territory between passion and action, substance and freedom, the aesthetic and the ethical. Antigone’s love is a passion she both suffers and tries to appropriate. The Silhouettes’ devotion to their beloved makes them dependent on him. I defend this dependence even though it is undoubtedly a form of despair. By appealing to Sartre’s account of love, I argue moreover that this love involves a recognition and appraisal of the beloved absent in the love exemplified by Fear and Trembling’s knight of infinite resignation. (shrink)

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)

Kierkegaardovo misaono nadahnuće motivirano je dvama nezadovoljstvima: prvo se tiče spekulativne filozofije i njezine nemogućnosti da zahvati zbiljnost pojedinca u njegovoj egzistencijalnoj danosti, a drugo se tiče građansko-kršćanskog svijeta njegova doba koji je u rasulu i gdje je »individua« posve dokinuta prevlašću »gomile«. Kako postati samim sobom, »jedan jedini«, odnosno »individua« , pitanje je koje Kierkegaard postavlja u središte svog filozofskog interesa. Put od običnog opstanka do zbiljskog egzistiranja, odnosno od »gomile« do »individue« ostvaruje se kroz tri stadija. To su (...) estetski, etički i religiozni stadij egzistiranja. U ovom se radu analiziraju njihovi ključni konstituensi i suodnos iščitavanjem primarno tri Kierkegaardova djela: Ili-ili, Bolest na smrt, Strah i drhtanje. I dok je odnos između estetskog i etičkog stadija dijalektički, religiozno stoji naspram estetskog i etičkog u naddijalektičkom odnosu. Taj se nad-dijalektički odnos pokazuje ključnim za interpretaciju Kierkegaardova mišljenja. -/- Kierkegaard’s philosophical inspiration was motivated by two displeasures: The first one concerns speculative philosophy and its incapability to grasp the reality of an individual in their existential givenness, and the second one has to do with the contemporary bourgeois-Christian world that had been falling apart and in which the “individual” was quite abrogated by the domination of the “crowd”. How to become one’s self, “unique”, or an “individual”, is the question Kierkegaard places into the center of his philosophical interest. The path from a common survival to a real existence, i. e., from the “crowd” to the “ndividual” is realized in three stages, through the esthetic, ethical, and the religious stages of exiastence. This paper analyzes their key constituents and their interrelation with an analysis of thre of Kierkegaard’s works: Either/Or, The Sickness unto Death, and Fear and Trembling. While the relation between the esthetic and ethical stages is a dialectical one, the religious is in a supradialectical relation to the esthetic and the ethical. This supradialectical relation is the key to the interpretation of Kierkegaard’s thought. (shrink)

The Prisoner's Dilemma (PD) exhibits a tragedy in this sense: if the players are fully informed and rational, they are condemned to a jointly dispreferred outcome. In this essay I address the following question: What feature of the PD's payoff structure is necessary and sufficient to produce the tragedy? In answering it I use the notion of a trembling-hand equilibrium. In the final section I discuss an implication of my argument, an implication which bears on the persistence of the (...) problem posed by the PD. (shrink)

How to be being to be being/ next to the united and firm/ and trembling/ mouth of the poem?”, “How to say what is clearer than clarity [...]?” or “How to unite a light design and an obscure gesture?” These questions, as well as many others that emerge from the poetic and essay writing of António Ramos Rosa (1924-2013), represent different modulations of the same angular question: that of the relation between poem and reality, or, more radically, between poem (...) and being. And if such a question spreads into so many formulations it is because, in António Ramos Rosa, its scope is total, simultaneously aesthetic and ontological, metaphysical and spiritual. It is, therefore, this question that we will try to answer by looking into one of its possible faces: how can poetic creation be at the same time the most intimate gesture and the one that touches most deeply the undomesticated matter of the real, that absolute and unapprehensible Other? (shrink)

Abstract In his discourses on ‘the lily of the field and the bird of the air,’ Kierkegaard presents faith as the best possible response to our precarious and uncertain condition, and as the ideal way to cope with the insecurities and concerns that his readers will recognize as common features of human existence. Reading these discourses together, we are introduced to the portrait of a potential believer who, like the ‘divinely appointed teachers’—the lily and the bird—succeeds in leading a life (...) that is full of care, but free of worry. Such a portrait, we claim, echoes Kierkegaard’s portrait of the knight of faith in Fear and Trembling . In this essay we suggest that faith, as characterized in the ‘lily and bird’ discourses, is a kind of existential trust that would allow us to overcome worry, while remaining wholeheartedly engaged in the finite realm of our cares and concerns. We claim that Kierkegaard’s goal in these discourses is not to belittle our earthly cares, but to invite us to develop a modified attitude toward all that we are susceptible to worry about. Content Type Journal Article Category Article Pages 1-19 DOI 10.1007/s11153-011-9322-5 Authors Sharon Krishek, Department of Philosophy, The Hebrew University of Jerusalem, Jerusalem, Israel Rick Anthony Furtak, Department of Philosophy, Colorado College, Colorado Springs, CO, USA Journal International Journal for Philosophy of Religion Online ISSN 1572-8684 Print ISSN 0020-7047. (shrink)

This article looks at “faith-in” and what Jonathan Kvanvig calls the “belittler objection” by comparing Hegel’s and Kierkegaard’s interpretations of Abram (later known as Abraham). I first argue that Hegel’s treatment of Abram in Spirit of Christianity and its Fate is an objection to faith-in. Building on this with additional Hegelian texts, I argue that Hegel’s objection employs his social command account of morality. I then turn to Johannes de Silentio’s treatments of Abraham in Fear and Trembling and Søren (...) Kierkegaard’s Works of Love to argue that Kierkegaard defends faith-in as part of a moderate divine command account of moral knowledge. Finally, this article suggests that the belittler objection is ultimately an objection to faith-in as a divine command source of moral knowledge or obligation rather than social command. (shrink)

Beginning with the work of Olafur Eliasson, with particular reference to the recent exhibition “Trembling Horizons” but not limited to it, a number of works representative of an artistic vision that might be called eco-logical are analyzed. Not only by explicitly thematizing the issue of the environmental crisis, Eliasson's works seem to materially express the demands of theorists who question how art can actively respond to the need for a shift in outlook that characterizes current events. Starting from the (...) idea of art as praxis, which allows the viewer to regard himself or herself and to place himself or herself in relation to what surrounds us – human and non-human – Eliasson's works act on the intrinsic objecthood of the work itself by creating a relationship with otherness and datity. They generate, therefore, a feeling of proximity, which concretizes a meaning of creativity in a transformative and site-specific sense; they promote an eco-logic that has its basis in a nomadic and depotentiated vision of subjectivity, engendering a feeling of interconnectedness and care. It will be argued in this paper the need to rethink art in these terms by hypothesizing a particular efficacy of some works that actively work in public space: places where the split between nature and culture has taken place, urban and public space are privileged contexts to actively promote the overcoming of this fracture and generate ethically responsible, already intrinsically ecological subjects. (shrink)

This dissertation explores Kierkegaard's concept of revelation, with special references to his work, The Book on Adler, whose particular focus is the way in which one communicates a revelation. ;Chapter 1 addresses two of Kierkegaard's influences, Hegel and Hamann, their views on Socrates, and what, according to Kierkegaard, transcends the Socratic. ;Chapter 2 takes account of a contemporary of Kierkegaard's, A. P. Adler, who claimed to have received a revelation from Christ. The chapter compares Adler's Hegelianism with the views of (...) Heiberg and Martensen. It also traces the alterations in Kierkegaard's manuscript for The Book on Adler , which Adler's claim provoked. ;Chapters 3 and 5 accept Kierkegaard's concession that a revelation in the present age is possible, but consider the ethical ramifications that proceed from the claim of having received one. This discussion is performed by means of an Hegelian critique culled from Kierkegaard's Fear & Trembling , and from an assessment of the status of religious communication, informed by Concluding Unscientific Postscript, the 1847 lectures on communications, and related journal entries. ;Chapter 4 addresses the epistemic underpinnings for revelation and argues that Kierkegaard's own epistemic position is a kind of empiricism that combines Greek skepticism and Aristotelian viewpoints. This allows for a coherent distinction between belief in the ordinary, sense and the sort of faith appropriate for confronting a revelation. (shrink)

The desire for the inner feeling of existence was central to Heidegger’s later philosophy. During the 1930s in works like the Contributions to Philosophy, he began to search for the direct experience, rather than the mere knowledge, of existential power. I characterize such feelings as post-Lutheran. Luther taught his followers to feel the presence of an existentially creative God within themselves. Such feelings, as evidence of one’s salvation, became endemic. After the Enlightenment and despite the rise of secularism, the desire (...) for the inner feeling of existence remained within portions of German culture. Heidegger rejected the idea of God as the foundation of existence, which he called an ontotheology, but he retained the desire to experience the coming-to-be of existence as an inner activity. In the Contributions, Heidegger repeatedly describes Being or “Seyn” as the “trembling” or “oscillation” between existence and nothingness. He tells us that nothingness always remains central to Being, which is what distinguishes Being from mere beings. The latter belong only to what has come-to-be; what Heidegger wanted to experience, not intellectually but as an inner feeling, was the power of coming-to-be. In short, Heidegger sought the inner experience of coming into being from nothingness. (shrink)

The story of Abraham – and the divine command to sacrifice his son Isaac – is, as many of us know, the source of inspiration for some reflections of Kierkegaard in his work Fear and Trembling. From this episode, Johannes de Silentio, the pseudony- mous author of the work, who makes an ode to faith as the highest of the passions, also wonders about a problem that, according to his interpretation, seems central, i.e. the teleological suspension of morality. The (...) objective of this paper is to investigate, especially from the reflections of Kierkegaard, a possible interpretation for the teleological suspension of morality and in what circumstances such a thing does occur and where we can insert it in the ethical debates of philosophy of the nineteenth century. (shrink)